#BOTH can be interesting and have their place in storytelling

[antianakin]

Broke: Only fucked-up relationships are interesting in stories! Healthy couples are BORING!

Woke: CONFLICT is what's interesting in a narrative and often conflict IN A RELATIONSHIP is what can make a story out of that relationship, but this does not have to mean that the relationship itself is unhealthy or "fucked up" as a result. Conflict can come from anywhere, whether it's inside the relationship or something the people involved are facing outside of the relationship that impacts their dynamic. Healthy couples are not inherently boring any more than toxic/fucked-up couples are inherently interesting. The quality of the story and the way the writing weaves the conflict and the relationship together is what creates a compelling narrative. Simplifying it down to "only fucked-up relationships can be compelling in a narrative" is just unhelpful and untrue.

[dragons-and-yellow-roses]

Tonight I'm going to try to go to a trans and nonbinary support group, tomorrow I'm going to go to an open mic night, gonna try to make some friends, plant some roots, shit like that. Wish me luck?

[needfantasticstories]

“Many places I have been

Many sorrows I have seen

But I don't regret

Nor will I forget

All who took that road with me”

-The Last Goodbye by Billy Boyd

This is an Adjuration by @not-freyja, after 86 chapters, 300k words, and 10 months of joy, laughter, tears, heartbreak and love, has finally reached its end. 

Adjuration is a tragedy that is nothing short of an act of love. That much is clear in the passion and dedication put towards the story, the characters, and the message Freyja is trying to convey. This fic will teach you about love. About death. About the inevitability of existence and why despite knowing it will all come to an end, there is still meaning in trying and hoping and loving each other. In loving yourself. You will laugh, you will cry, you will hope and you will despair as you read this story, but you will not be able to put it down.

It’s hard to say goodbye to something that has been so important to and loved by so many people. So we won’t. Instead, we will say thank you for this incredible journey and the community this fic has built. For the friendships that have been made and the endless inspiration you have given us. Thank you for wanting to tell a story, and for letting us join you around the campfire to listen.

Thank you.

(If you like Linked Universe and haven’t yet read Adjuration, see below for spoiler free reviews of this fic and artist credits.)

This is an Adjuration is the kind of story you fall in love with, the kind of story you think keep thinking about long after you put it down. The kind you keep finding hidden details in after you think you’ve got it figured out. 

The characters are distinct and people with their own voices, motivations, relationships and histories. You’ll have your favourites but love them all. They influence how you’ll see the characters in everything else. 

It’s full of moments where everything clicks and everything before is recontextualised in a way that’s so satisfying and make the whole story very re-readable. A time travel story where all loops are already closed, where you can know but not yet understand what will happen. It’s long, complex, and beautifully, meticulously planned and detailed. It’s clever and considered, funny and heartbreaking. 

A story that whispers ‘it matters’ over and over. It is worth it to love, it is worth it if it doesn’t last forever, it is worth it to give someone a little more time, it is worth it to fight. It’s about loving others and your world and finding grace for yourself. 

It’s loss and tragedy and the cruelness of fate. It is the sacrifice and the breaking. 

Full of heart to both fill yours and break it in the best possible way. 

It’s about love. Always.

By @toyouhellohowareyou

Sometimes, it’s hard to explain to others why art moves us.

I could tell you This is an Adjuration will make you cry, laugh, and sit at the edge of your seat in anticipation. And it’s probably true - I did all of that as I read, often with a coffee in one hand, early in the morning as I got ready for the day. 

But that’s not the reason why I’m writing this.

The real reason is how it followed me during the rest of the day.

You see, at a certain point I realized this isn’t a story about Links going on adventures. Well, it does feature Links, and they do go on adventures, so let’s talk about that for a minute.

The first thing that caught my attention about this book was the characters. Each individual is unique, interesting, and exciting to follow. Not only are the Links individually compelling, but one thing that stands out in Adjuration is how the relationship between each Hero and their own worlds matter, and these connections shift, evolve, break and grow as the plot progresses.

Freyja does an incredible job of bringing together impactful storytelling with humor and heart. This is an Adjuration starts with an interesting premise, and then twists and turns in directions you wouldn’t expect. It’s rich in thought-provoking moments, soft joy and intense action, blended in with carefully crafted time travel and magic.

Adjuration sucked me into the world it builds, combining believable characters with fascinating stories, an unnervingly devious antagonist, plot twists, and lovingly crafted details that slip unnoticed until you’re surrounded on all sides. It made me cheer for characters I feel as if I’ve known intimately for years, made me worry for their safety as I would for that of a loved one, kept me hunting for hints and hidden references, pulling on a thread to try to find the end only for it to twist and loop into itself and show me a completely new side to the story.

Yes, This is an Adjuration is a fanfiction piece that explores the winding river flow of the Legend of Zelda timeline and how the stories of each Hero merge into each other. It also stands out for its heavy emotional content, and it doesn’t shy away from angst and hurt.

But to me, Adjuration is an epic journey that taught me how the choices we make, make us in turn. It’s a tragedy that deals with pain and healing, and it bares naked the non-linear nature of grief. It’s a celebration of the things that make us unique, of our flaws, an essay of the impact of little acts of love. Indeed, it’s a story about love.

I can tell you now, This is an Adjuration moved me. It still does. It has a special way to surface in my mind in unexpected ways at seemingly random times, from something as simple as tossing an apple core, to watching a lightning storm in the distance, or finding a picture of an old friend.

And every time, without fail, it makes me think about love.

By @sunny-porridge

This is an Adjuration is a wonderfully and beautifully crafted story about love, loss, and choice as the various incarnations of Link come together and travel through time. Freyja seamlessly weaves a tapestry of setup and payoff across different timelines and loops, in the best-constructed time travel plot I’ve ever seen on page or screen. Even at its surface, Adjuration is an emotional rollercoaster involving tragedy and the soft moments that make that tragedy worth it. But the deeper you look, the more meaning you can pull from every chapter of this amazing work. This work has made me cry, squeal with delight, and think more deeply about its themes all while having an absolute blast reading it. So in summary: READ IT. READ IT. READ IT NOW. YOU WILL NOT REGRET IT.

By @life-in-winter

While I love that every chapter is emotionally enthralling, with carefully woven, visceral tension you crave in any good story, yet Adjuration is more than that, and you feel it in the careful weave of each character and plot point. Nothing is lost or unanswered. It's the kind of story that, by the end, makes you stop and take a hard look at your own life. Are you appreciating the now? Are you savoring joy? Are you so wrapped up in fear that you can hardly take care of yourself? Do you know who you are?

This story is more like an external experience. It's riding atop a tsunami. How do you handle that ride, Link?

There aren't enough words to describe how amazing this fic is.

@needfantasticstories

Artist credit

Legend: @gia-d

Hyrule: @bittirsweeteer

Time: @toonblade

Sky: @noorahqar

Warriors: @whitewinterstar

Wild: @weavingstarlight

Twilight: @bluury2

Wind: @thewitchdoctor39

Four: @lunaopus

Red: @peepthatbish

Blue: @glowingmin

Green: @winterfen

Vio: @waterfallstream

Shadow: @deleetrix

Wolfie: @linkiscool333

Fierce Deity: @awildsilver

Ravio: @lele5429

Malon: @tooner-tastic

Dink: @passerinesoncaffeine

[ganondoodle]

totk rewrite- botw2 edition

been thinking about the other totk rewrite again (the one only based on botw in which the sonau stay a mystery while being expanded upon)

i talked about it before but heres a lil breakdown (im reusing alot of mechanics from the villain rauru rewrite bc they work too well to be discarded for this one)-

(edit, about five hours later .. its not a little breakdown, its a pretty complete summarized breakdown of the entire new rewrite that i didnt intend to spend the last hours of my sunday on but here we are .. long post, but with pics bc theres lots of concepts im reusing or reviving)

okay START:

zelda and link explore the caverns below hyrule castle bc the shiekah tech has been losing power and their research as to why lead them here

they discover ganondorf and through zeldas curiosity break the, already weak, seal on him (no enigma stone here, the seal was done by an ancient queen of hyrule)- he wakes up attacks them, breaks the mastersword and miasmas/malices links arm off (also idea is that you have to fight him but meant to lose horribly lol) and then have to play an escape sequence (or watch a cutscene of it) in which zelda drags link after herself running from gan

(remember this old first idea drawing i made when i started to think about a rewrite? yeah im reviving that, except theres no totk sonau in this anywhere)

they get out and immediately afterwards a heavy earthquake runs through the land, completely, and actually, changing the map (also using the idea of devastating the regions climates- gerudo desert is flooded, death mountain collapsed inwards, the zoras realm is dried up, rito village has completely frozen over - ACTUALLY frozen over, everything encased in thick ice, the temperature has a special new low point, the winds too strong to glide anywhere-, mountains and rivers shifted, caves are revealed- oh and most of the main villages have tried to flee somewhere saver so theres no literal 1 to 1 repeat of points of interest from botw; also no uh .. miasmas holes that are literally jsut like drilled out bc what?? i want the access to the underground be few and hidden to make it more special to discover)

links arm gets amputated and replaced with a shiekah tech one (maybe using the botw shiekah stone/slate since they still dont know how to make them and its the best self sufficient piece of tech left that doesnt rely on the breaking fuel structure) (reusing this concept from the villain rauru one, with the difference beign that theres no corruption of link -or maybe it does have an effect to have shiekah tech literally hooked up to yourself *thinking emoji*- the abilities remainign the same)

when link wakes up some time has passed (so its more logical that the other regions have tried to cope with everything happening) you get a tutorial by purah and other shiekah (bc with zelda in charge theres more shiekah doing tech stuff again! cool!) and now have a magic meter (functions like in the previous pic, recharges over time depending on environment! bc i find that idea so cool for interstign puzzles and storytelling- like i said in an older post, a place where lots of people died might be richer in spirit energy recharging your magic faster- others have been hollowed out of luminous stone which slows down the recharge) and you are left to decide where to go

both zelda and you have a shiekah stone/slate replica but its incomplete since as mentioned the knowledge on how to make it is still lost so it only has the basic functions, such as the map, journal, camera and teleport

zelda is your companion from the start, in the years since botw she trained in basic self defense and can use her sealing powers as a shield to protect herself (though reluctantly since she doesnt want to rely on them) so you dont need to babysit her- you can tell her to be aggressive in encounters, supporting you (occasionally shields you or heals you a little?) or stay out of it/only self defend if an enemy targets her (in case you dont want any help) - she also copies your movement in a way, when you glide around she will too etc- in cases where you go very fast to one thing, like the hookshot, she will grab onto you

zelda also acts as your mobile crafting station, to put it bluntly, as she can craft and repair weapons, which is at first limited but can be expanded upon by doing quests (like the options of spear crafting being hugely expanded by a zora quest- fitting their fight style), when she does it you need the material needed for it though it costs no money- theres new little smith shops around the world that can repair and craft as well in which you can spend money instead for material you are lacking (and a little fee for the work you know)

(one of the first rough concepts for a pair of smiths, one is at the shop (green lady, the scars on her arms are her missing fins bc she burned them or lost them in battle), the other walks around it like terry (beedle) does and from whom you can buy already crafted simple things, like arrow types-

oh yeah, arrow types return and get more options bc theres no way in hell id make anyone scroll through that awful menu just to fuse one arrow at a time (the old types return, but theres new ones and all are craftable in bulk, here and old rough sketch)

(also theres no new 'in the same location jsut a few steps to the left' towers that shoot you into the air bc it just destroys the entire world design- even if there is no sonau tech in this one so no gliders- i want the sky to feel as dangerous and mystical as the underground)

the sky has to be reached via the hookshot, its got big islands mostly with old shiekah ruins, including that broken titan prototype i drew before, and the bird mechanic (you can tame birds and register them at a location there, idk if im keeping the idea of a lone shiekah there, but the birds will stay)-which is if you tamed a bird you can call it when gliding to gain a little boost in height, enabling you to reach islands further away (since no building, yeah that mechanic is better used in a game actually built around it, which totk just isnt- do not argue with me about that- to really let it shine instead of just being a tiktok viral funney build simulator that adds nothing meaningful to the game and actively makes it worse due to its implementation just not fitting there) or save you from falling if you barely missed the edge of one - theres few points of teleportation up there so the world map isnt made skippable, theres no shrines there (and in general, there are no shrines, just minidungeons- ACTUAL minidungeons- integrated into the world, like really big caves that are each unique and filled with challenges- and much fewer of them) (the islands being mostly made nigh invisible from the surface bc clouds gather on their underside)

perhaps different glider types?! and you can switch their design via zelda too

the old botw shrines are non fucntional due to loss of power, either overgrown or broken into pieces due to the ground breaking open, some might be infested with malice/miasma and comes alive like a weird mix between guardian and miasma crab (which also goes for guardian wrecks that hadnt been taken apart for research yet), some are fallen into caves that got revealed or got swallowed by the ground with only the tip remaining- the titans (divine beasts) are all repurposed (like in the other rewrite ideas i had)- the rito tried to flee the blizzard using medoh but sicne no one has piloted it and unstable connection to them causes them to crash in the hebra mountains, unable to leave it due to the storm and thus on limited time; vah rudania was perhaps made into a temple, or training ground but fell into the underground when death mountain collapsed (imagine ... malice/miasma infested rudania being an actual boss itself, chasing after you in the underground); vah ruta was absolutely made into a place of worship and after their domain dried out a few remained there praying to it convinced their faith would save them- its not able to move but manages to produce a little water still; vah naboris might have been used as a stronghold/lookout but due to the desert flooding (which is in fact, bad) its one of the 'islands' people now reside in

new weather types, including storm and darkness caused by mushroom spores that are invasife to the surface

theres at least six dungeons, one for each region (but not in the exact place as in botw bc that is literally just plain stupid though i might use the zora sewer/water system idea for an actual dungeon instead of .. a single button- bc how cool would that have been?? no no lets put the fish people in the sky and put a single button in the coolest part of it that only activates a waterfalll .... coming out of a tiny island in the sky- all just by of the visual neatness of swimming up??- anyway) plus a yiga one that is in and below the akalla citadel- also might put hyrule castle into the underground and inaccessible for a good portion of the game- and one in the forest of the krogs that was corrupted (which i thought was the reaso nfor the backpack krogs, but no, they literally have no goal and serve no purpose than to make funney videos with em, and then even the forest is nothing more but a reused lame fight agaisnt phantom gan- im starting to rant, sorry)

the abilties of the champions will be similar but there are changes, as in tulins (who i might just change to teba bc lets be real he was the one you interacted with in botw really..) isnt a gust of wind, since its both contrary to revalis whole deal of how difficult it was for him to create the updraft and then tulin can just do an almost exactly the same thing as like, a 12 year old- also its little usefullness after me adding in the birds for the sky and different glider types- maybe ill make it a strong windcut forward like in the other rewrite, like the yiga officer windattack but on steriods id also consider most of them not having the innate ability for it anyway, except for yuno maybe since he literally inherited daruks shield and as my idea was could make a variation of it adding the roll an fire to it but still having the shield, bc it kinda makes them like a boring copy of the botw champions and also lessens both their impact in a way (perhaps bringing dungeon items back?? idk,so still working on that)

each dungeon has a unique boss, at least on of which being a corrupted friend (PROPERLY DONE not like poor yuno in totk >:I ) bc each being just some monster tm is kinda boring (like twilight princess was so cool for how it mixed its bosses tbh)- also want satori to have a dark (also nice) counterpart that you might have to fight first bc you are trespassing into its domain (an old sketch gonna revisit it at some point)

new armor sets of course, and you still own YOUR house in hateno, zelda either has her own one in the spot where landa (the funky building lad that you bought your house from in botw) had the 'example' houses or yours got an additional building added onto it for zelda (and you can customize like, trees around it and have a lil farm spot too!!) and in your house theres a chest you can store armor sets in so you dont have to sell them to avoid inventory clutter

POUCHES return!! you can find some but most are locked behind quests (since logically people likely would have pouches) making them a really good reward and dont force you to engange with krogs if you are tired of them, it also avoids making you go back to them over and over just to expand inventory (you can choose for which part you want to use the pouch for, weapon or shield slot etc)- krog seeds are now its own currency for a lil shop you unlock in the forest, one of the highest rewards being the eponator zero (the motorcycle from botw)

also BOTTLES return! the main way to store healing, which also has to be consumed in real time (like in skyward sword, select in on a wheel so link takes it in his hands and 'a' to use it) avoiding the pause and spam apples into your mouth problem-

now cooking is NOT removed, it has even better effects than potions BUT it cant be stored and has to be consumed where you cook it (hear me out-); the cookbook in totk i find pretty annoyingly useless so, the cookbook is now a proper book you can fill out and when you want to cook a recipe you select it there and cook it with what you have (it shows if you dont have it all and also if you wanna swap an ingredient that would end with a similar effect) AND since you cant store it, theres special NPCs that reappear throughout hyrule (like a group of chefs that have one in each region at least) that let you just cook whatever you want without it wasting your materials, and if you hit a recipe it unlocks and is saved in your cookbook (you have to have the materials you want to cook with but it wont consume them, so you cant jsut spam it and fill the entire book out in one go- maybe the chef can give you subtle hints with expressions if something might be good or not before you try it out so you dont waste ages just cooking the same shit over and over xD)

(also possible idea for an item or big quest reward, a portable pot you can set up to cook with -with wood and fire- on the go without having to rely on finding them in the wild, and zelda can act as you chef giving you hints ... honestly i love this idea, remember all the cute botw art of them travelling and cooking together?? make that real you idiots!)

to upgrade your health or stamina you have to get spirit orbs still, but this time you get big ones that each can be traded, since thers fewer minidungeons but they are 4 times bigger than shrines they also give you 4 times the reward- but still one where you can choose which one you want bc i find that an important bit of freedom (idea still is that you free trapped souls and they give you the orb as a reward, majority of which are in caves in the underground or in the surface caves) which encourages you to vary your gameplay and not focus just on one area bc you probably want all those things, go for quests for puches and bottles, for minidungeons for health/stamina etc

oh yeah, the underground houses several dungeons, the weird gravity effect is in either the entire underground or in parts of it- it does not span the entirety of the map, isntead its smaller and often enclosed areas that each are more detailed and 'finished', theres different bioms and enemies you dont find anywhere else, and some enemies on the surface (like the miasma hands but like .. less easy and no phantom ganon bc that got boring rly fast) that sport those hands can grab you and drag you underground- which can either mean doom for you or .. discovering a new area down there hmmmm a risk to take isnt it :3 (also wanted there to be a mount there but idk if i will use this old concept of the dongos or if i want it to be a crab like thing bc of the underwater theme i want to go for)

LORE/STORY

so as you explore you may discover caves and areas in the underground containing sonau architecture (the type from botw, not totk) most of which heavily damaged, but theres few that are in 'better' shape bc they have been in selaed off caverns that werent yet discovered-

you find out the sonau, which you only vaguely knew from ruins in the overworld, were in fact real (but no you dont suddendly know they fucked with hylians and even their names of untold thosuands of years ago that you just so happen to have read in a book all of the sudden like it was an always known fact and not at all a myste- .. rant alarm .. ), and given the ruins underground they must have originated from there, but there are no scriptures that survived and all sculptures are in very bad shape, alot of which seems intentionally destroyed- slowly you and zelda piece together through vague clues (VAGUE game VAGUE, let people THINK) that they had knowledge of the past and the nature of the ever repeating return of disaster to hyrule; the biggest reveal beign that they knew the cycle wasnt natural at all and that it keeps being repeated only through the structure of how this land operates, the beliefs of the people that rule it, altered history etc.

the ancient shiekah under the rule of hyrules royalty found out what the sonau had discovered/knew and persecuted them (parelells to what the king would do to them later on, anyone??) since the divinity of the kingdom must be upheld by all means necessary- which is why the sonau had disappeared so entirely, with little of their culture left and none of them, and by doing so the ancient shiekah also discovered the previously lost knowledge of the gerudo king having turned into the biggest threat to the kingdom in the past (which the sonau had kept secret, knowing what consequences it could have if not handled carefully), which starts up a whole other betrayal plot of the kingdom planning to imprison gan before he can become a true threat (im gonna guess the relations between the gerudo and hyrule havent been that great even before since hyrule was still the main empire)

gan finds out before the plan goes through and assasinates the king of hyrule, the ancient queen declares war (yes, the queen for once) and in the end sacrifices herself to seal him away, more for revenge than any prophecy, but it nevertheless leads to the cycle doing its thing yet again

calamity ganon is a product of ganondorf trying to break free of his seal- and perhaps in an attempt to weaken his unbreakable will the shiekah discover they can use his spirit as a powerful source to their newly invented tech- which previously ran with processed luminous stones (yes battery theory will never let me go idc) and essentially use his own power against him by beating the calamity with their tech

(this knowledge is also how you get the yiga to work with you, using your knowledge of the past as leverage and zeldas ability to negotiate - and bc i thinks it would be cool to see her develop that way, and no i dont mean it as they all gonan fix it uwu either, its hard to go into more nuance here, its already way longer than i wanted- and yes this also ties into the koga is one of the ancient monks that made himself basically immortal through malice experiments HC of mine)

he attacks the regions bc they too sided with hyrule, he drags you to the underground bc its where he has spent thousands of years in agony, hes only out for revenge, an understable one and one you can sympathize with, but one you cannot negotiate with, its been too long, too much, no amount of apology could sate the desire for payback (which keeps the whole link and zelda defeat ganon formular alive BUT gives it nuance, right?? more tragic really, i hope that comes across)

he attacks link and zelda, breaks the masterword bc he has seen it all before, the original calamity, through the eyes of malice, he knows what you will do, inevitably so, you too will come for him, again

at the midpoint of the game you will reach hyrule castle (underground? perhaps it depends on how much health you have, getting grabbed and dragged into its depths losing hearts and if you have enough you survive until you are inside the castle and let go, you cant teleport outside - oh and zelda is either absent for the fight bc you got separated or she held onto you and protected herself with her power- honeslty kinda like the seperation idea bc after having her around all the time its gotta be super creepy to be suddendly alone) and will have a fight with him, that you kinda lose but are saved by the rest of the crew that zelda had banded together and brought here after being seperated from you- maybe without koga yet bc he would be locked to late game i think

there will be a quest to reforge the mastersword, which if you havent already gone to the forest will now lead you there (oh also some of the krogs you find outside the forest now will tell you that they had to flee, but maybe warn you not to go there yet if you are still in early game, others might not know bc they left to plant new forests, windwaker style, maybe a quest there too! to give them purpose beyond being your plaything and then just disappearing- ahem .. )

(old concept for the krog forest/dekutree boss)

the dekutree will tell you to restore it it will need the blessings of the three dragons (who might not have appeared yet, or slowly disappeared one by one, they might need to be rescued bc gan probably knows you are gonna try and repair the sword) (oh look more old concepts still relevant!)

in the end it will .. end with you defeating ganon, just like always (unsure of the place where it will will be but OH LOOK old concepts- here it was still with hyrule castle in mind but that might be jsut for the midpoint fight now- maybe id put the end fight on the forgotten plateau, to round it up nicely, ending where botw began ... ;3

i really like this one .. even more than the villain rauru one, though that one is fun bc a twist like that is pretty neat and fighting with ganondorf is also rly cool- but sicne i just dont like the totk sonau and much prefer them remaining mostly a mystery im very fond of this (also .. im so sick of ancient people with high tech bs now..)

the aim with this is to .. make a botw2 that actually feels like a botw 2 (for me), shiekah tech is still there but little functions still, logically bc its main powersource is breaking off of it, the sonau are a mystery and kinda negatively talked about bc the shiekah persecuted them just like they would later be - also explains why there are shiekah things in every sonau building, of course they would overtake their places and try to erase a much as possible of them (the thunder plateau might have been a place of worship to farodra or for research- now look its a puzzle for a shrine to strengthen our hero to defeat the thing we caused :)) ), the sonau are expanded upon WITHOUT destroying their mystery (none of them are shown, there are NO memories in this game, everything happens in real time and what you can learn about the past is mostly vague clues pieced together by nerd zelda!)

it gives more depth to the shiekah as well as add an important ounce of nuance to the yiga and shiekah, to ganondorf as well while adressing and fixing the things that needed work in botw in ways i would find enjoyable (instead of making it WORSE)

i also dont want to go too hard on 'zelda is totally agaisnt the monarchy bc monarchy BAD', its not meant to come across like that, i just wanted to do sth interesting that does question everything and bc i like to think she could be lead to a different way of thinking, especially if so through her own research and discovery of previously buried history, being confronted with her own biased views by her passion for her interests

anyway, if you read through all of this, i probably forgot stuff, buts its very late and i spent alot of time writing this (bc i cant stop once i started i guess) and theres lots of things repeated that i already talked about BUT if yo actually read through it all, i cannot even begon to express just how much that means to me, and id i dare request, do tell if you like it!!! and thank you so much!!! it might not seem like much but this is also very important to me, i still dream of gamedev after all and i see this as a sort of practice, are my mechanics and stuff actually better os does it just seem like it to me etc -

(though keep in mind, this is in part self indulfent bc hey, its not real and is never gonna be so i might just do what i want- and yes i do believe it is doable, even if this all sounds alot, the magic lies in making it less but make that 'less' more dense and detailed, hence the underground being like at least cut in half in size and the building mechanic being removed (to give to a game where its better used than totk) alone should free alot of time and space for the things i described here)

-thanks again for reading, posts like these rarely get much attention so uh ... its pretty much never worth the time i spent typing designing and writing it (even if theres still lots missing here, like the dungeons and details to the champions ..) so every bit of commentary weighs alot more <3

[felassan]

July 15th Game Informer article on BioWare's companion design philosophy in DA:TV - cliff notes:

DA:TV wasn't made with the intention of making a sequel or 'the same again as DA:I'. They wanted to do something different

The companions are key to everything in DA:TV; the special centerpiece, load-bearing pillars. The studio uses the phrase "DA is about characters, not causes"

These are the most fully realized, complex, fleshed out & complicated companions from BioWare yet (and DA's best). They have stories of their own, and roles both in and out of combat. They are authentic and relatable

For the first time in the series, BioWare feels that they have purposefully and intentionally created great companions. In previous entries, they sort of 'stumbled' onto great companions

Rook goes on a journey with the companions, rather than how it felt in previous games where the companions are more like going on an adventure with the PC

The companions have complicated problems. We will explore how they think and feel, and help them through their problems. They participate in the game's dark parts and optimistic parts

Corinne: "They feel like my dear friends, and I absolutely adore them"

Corinne quote: "We've really moved into a place where you can have the highest of highs, and it can be colorful, it can be optimistic, but also, you can have the lowest of lows where it gets gritty, it gets painful, it gets quite dark. But throughout it all, there is a sense of optimism. And it creates this delightful throughline throughout the game." 

When creating DA:TV one of BW's principles was that the world exists even when you/Rook isn't around, with ancient conflicts, grudges and more going on. Rook kind of comes in in the middle of some of these plots

John quote: "For example – the Grey Wardens are an interesting faction but by themselves, they don't tell a story, but there are characters within that faction that do. And the same thing with other characters in the story. They represent these factions, they show the face of the other parts of Thedas and of the storytelling we really want to do, which, again, shows Thedas as this large, diverse living world that has things going on when you're not there. [...] Where can Rook come into [the companions'] stories, and what interesting ways can those stories develop not just based on themselves but also based on Rook's presence within them?"

Companions are the faces of their factions. Some, like Bellara, are the faces for an entire area of the world

BW hopes that the companions' visual design challenges and excites cosplayers. Matt Rhodes: "The previous art director had the mindset we should make things easier for [cosplayers], which I think is a misunderstanding of cosplayers. We've seen the kind of challenges they're willing to take on, and so we've gone for, in some cases, a level of complexity and detail"

Tevinter is an oppressive, totalitarian regime that has slavery. "If you’re not a mage in Tevinter, you are lower than dirt for a lot of people". A damaging regime has taken over Minrathous

The Shadow Dragons are a rebel faction that fight back against this Tevinter mage-ocracy (so does Neve)

Neve believes that good exists in Tevinter. She's there for the common people, and believes in fighting oppression and tyranny. She represents the voice of the streets and the common people. BW "wanted to have a character that showed not just what is Tevinter at the top, but what is the average person who lives in Tevinter"

Detective Neve is also about finding clues and ways through problems that aren't as action-focused as some of the other companions

The writer Wesley of Game Informer thinks that DA:TV is sure to be "multiple dozens of hours long"

In combat, companions have their own autonomy and behaviors. They pick their own targets

As their plots progress, they learn how to use their abilities more competently in battle. "It feels like we're all in it together"

In battle, strategy, progression and a sense of teamwork comes into play as the party's leader, Rook. "It is a game about creating this organic sense of teamwork."

Vulnerabilities can be used synergistically

Bellara can slow time

Harding has devastating attacks with 'knock down' effects

Corinne quote: "Now, there are more explicit synergies as well. We very much have intentional combos where your companions can play off each other, you can queue up abilities between them, and each of those abilities will go off and have their effect. But it results in this massive detonation where you get enhanced effects, debuff the entire battlefield, all because of planning and teamwork. What makes it really cool is you can introduce Rook into that equation as well. One of my favorite things to do is upgrade some of Harding's abilities so she will automatically use some of these abilities that normally I'd have to instruct her to do. And she'll actually set my character up to execute that combo that, again, has that detonation effect." 

Outside combat, companions have their own concerns, fears and distractions

Companions have their own personal spaces. They each have their own room in the Lighthouse. These sanctuaries become reflections of who they are. "The more time you spend with them, as the game develops as you work through their arc, their room and their personalities will evolve and flourish and become more complete as they trust you more and you understand them better."

The companions also develop romantically, sometimes with each other. Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we're on. And it broke my heart, it absolutely did"

Get to know and learn about the companions in the Lighthouse. "It endears them to you in a way that I honestly haven't experienced before."

There are joy-filled moments and heart-breaking moments in the game wrt the companions

[source]

[moviecritc]

easiest conversation ⋆ carlos sainz

pairing: carlos sainz x fem!oc (named Angelique)

tropes: strangers to lovers

summary: carlos and angelique sat next to each other in a tennis match in monaco, leading to an endless conversation.

a/n: english is not my first language, sorry for the mistakes and poor storytelling. maybe a part 2 if you like it?

masterlist

Everybody was focused on Carlos' future in Formula 1, he tried so hard to not be worried about it, but every thing he does, the media somehow made it about his career as a driver. So, at the end, he couldn't do anything except being worried too. Many what ifs were in his mind anytime he thought about it.

The past weekend wete the Masters of Montecarlo, a tennis match, and taking advantage of the fact that he was in the city and most of he's teammates were also watching it, he attended as well.

Carlos didn't have the opportunity to talk to any of them, they were seated in different places in the public. Either way, seeing George, Charles and even Lando with their partners made him feel a little bit more miserable than he already felt. No seat and no girlfriend, that's not a very cool situation to be involved.

And there's even more, he doesn't even know a shit about tennis. He played paddel a few times with Lando, but tennis? He had no idea. So he just sat there, gasping when other people gasp and checking his phone once in a while.

"You seem lost," someone said.

Carlos lifts his head that exact moment, connecting looks with a light brunette that was looking at him above her sunglasses.

"Are you talking to me?" he asked, totally confused. Since when that woman was sitting by his side?.

"Yes. You look bored, maybe you just need someone to explain tennis in a cool way," she smiled. A beautiful smile.

Carlos also smiled a bit, in a weird way. Sometimes he forgots that there's people who can effortlesly talk to strangers in a cool and mysterious way. This woman was one of them.

"Yeah, sure. If you can,"

"If I can?" she seemed dramaticly offended. "You don't think a woman can explain tennis to you, man?"

"Oh, no, no, no. I didn't mean it in that way," he said quickly. "Please, go ahead."

She smiled and started explaining all about tennis in the most interesting and funny way possible.

"How do you know so much about tennis?" he asked.

"Well, I'm a tennis player," she explain. "I thought it was obvious."

Carlos noded a bit, noticing a few mobile phones and cameras pointing at them. He didn't realised it until now, and now he was wondering how many pictures and videos of him and that woman would be around the media.

"Uh, well... I mean, I have no idea about tennis," he said, nervously.

"Yeah, I could tell that," she laughed and she infected Carlos with the laughter. "I'm Angelique, by the way."

"Beautiful name. I'm Carlos," they shaked hands with smiles in their faces. He saw some redness on Angelique face after he complimented her. "So you are a tennis player?"

"Yeah." she simply answered.

"Are you good?" Carlos didn't want the conversation to die.

"I try to be," she said. "I'm fifth in the Women's Tennis Association, I don't know if that's enough for you."

Angelique pursed her lips, making a funny face that made Carlos smiled.

"That sounds really good," he said, truly impressed. They were both athletes, maybe that's why it feels so easy to talk to her.

"What about you?" she asked, raising her eyebrows.

"I'm a race driver,"

Angelique raised even more her eyebrows and wide-opened her eyes "Ok, that is so fucking cool!" she remarked. "Which team do you drive for?"

"Ferrari, but..."

"No way! That's even cooler!" she boasted. "I mean, I have no idea about Formula 1. But Ferrari? That is cool guy material, undoubtedly"

Carlos was too invested in Angelique's voice and eyebrow game that wasn't able to tell her that he isn't staying in Ferrari for too long. But they've just met, and being unemployed isn't something to say to someone right off the bat.

He realised that it was the first conversation in a while that he didn't have to mention anything about his future in Formula 1, another reason of him being this comfortable around Angelique.

"And, how did you became a tennis player?" Carlos asked, leaning a little bit to her.

Now, she was focusing on the ball and the movements of the players.

"My brother used to use me as a ball picker when he played tennis, then he broke his arm and I kept his racket," she explained without divert her eyes from the field.

"He stopped playing tennis after that?"

"Well, yes. When he could come back, he was too old and unexperience to achieve something," she said. "But he wasn't very good anyways."

They both laughed and Angelique take off her sunglasses so she could see Carlos better.

"Have you won something in tennis?" he curiously asked.

"Yeah, of course. Matchs and all those things,"

"Have you beaten Serena Williams?" he wondered, with a smirk.

"Not yet," she admited. "But I've won against people who beat Serena."

She smiled proudly. The match was about to end, and none of them were paying attention to it.

"Okey, that's pretty awesome," he said.

She crossed her legs and accomodated her long brown hair to one side, which left Carlos eyeing her in a romantic way.

"And you? How someone decides that he wants to drive really fast cars?"

"My father has been involved in motorsports for a long time,"

"It's always a family thing, don't you think?" she said. "It is hard to find someone who started in sports by themselves."

"It is!" Carlos agreed with her.

He was going to say something else, but they announce the end of the match, everybody standed up to give an applause. Both of them copied the rest of the people.

"Wait, who won?" Carlos asked, totally confused.

Angelique lean into him, whispering "I've no idea,"

They laughed and kept applausing. That was the end of the match and the end of their conversation. Angelique's agent rapidly came to her to take some pictures with the winner.

"Wait, wait," she insisted to her agent and then walked close to Carlos. "It was lovely talking to you, Carlos,"

"Same, Angelique. You seem an interesting person," he complimented. Carlos was willing to ask her for her number, or something.

"Are you coming to the finals tomorrow?" she asked, praying for a yes.

"I don't think so... I have a race soon in China,"

"Oh," she seemed disappointed. "Well, good luck for your race and..."

"Can I asked you for your number?" he said unexpectedly.

"Yes!" she realised that maybe she was too effusive, so she lower her tone. "I mean, yeah, sure. If you want."

Carlos laughed and Angelique did it too, in a more ashamed way. He gave her his phone so she could write her number.

"There you go," she said and her agent was already near her to leave the match. "Text me!"

Carlos laughed and waved at her, when he looked at his phone, he could do anything but laughed again. Angelique saved her as "That cute girl from the tennis match".

He wondered what was about that girl that made her so unique and easy to talk to her. Carlos didn't think about it very much, instead, he texted her right after she left the field.

[ask-whitepearl-and-steven]

I admire your patience with those readers who need you to spoon feed them the story. Everything is in the comics but they still manage to go pass it. I can't help but feel a bit sad for them? Do they not understand what they read? Are they not attentive when reading it? I'm legitimately concerned because I function so differently I can't fathom this. If you like a story, isn't it normal to make your best to grasp it's essence and reflect on it? I know I project a lot about this, everyone works and registers things differentely of course but sometimes it's very frustrating to see people consume any media and just completely miss all the important messages in it, or even just fail to get the scenario sometimes, and it feels like it's very common now... Idk I just wanted maybe to have your perspective on this? Sorry for the long post (Been here for a few years now and your a true inspiration to me. All my luv to you! ❤️)

You know, I'm gonna be honest. I used to stress out about this... a LOT.

As a story-brained person, this is definitely something that comes naturally to me, and perhaps to you, and to many other people who are wired similarly. To us, following the path of a story in an analytic, highly detail-motivated manner and unwrapping the themes can be as exciting as lifting up a rock to see the bugs underneath. It's an exciting mental activity that's stimulating and feels effortless.

And yes, as an author who spends literally 60% of my day thinking about this comic and how to draw it, panel it, script it, make it better (I script and panel in my head constantly)........ I have trouble realizing/dealing with the fact that some people are just here to CASUALLY enjoy the story that I am lowkey obsessed with.

But I've come to realize that... that's NORMAL! And healthy.

People have different attention spans for different things.

People have varied ways to read a story and engage with it.

People have unique interests.

People don't have the same amounts of energy to devote to reading!

Maybe someone missed a detail I lovingly and painstakingly put into the dialogue because they're reading the update late at night after a long shift at work. And maybe someone scrolled past the dialogue completely and just got the gist from looking at the art, because they're in a hurry to get to practice at their favorite sportsball.

And maybe someone just had a really bad day with a really bad encounter, and they're reading the update in a terrible mood and instead of seeing MY grey-morality narrative, they're focusing on all the negative points and misread the vibes because of their own biases that stem from places of hurt.

The thing is, I have to be okay with that as an author, because I will NEVER be able to get into my audience's heads and read this comic 'correctly' for my own sake.

They will always have a slightly different interpretation of things, and they will always misunderstand details and miss clues. And sometimes, they will be wrong about the way they read a character's motivations... and sometimes maybe they won't be! That's just a part of communication. That's a part of telling a story.

An imperfect delivery, and an imperfect reception should, in my opinion, be a natural and accepted part of storytelling. We're human, and we all have a different lived experience, and we will ALL have different takes on a comic, even if it's so close that we THINK we are both getting the exact same thing. That small human interpretation variation is a home-made touch that makes it feel more organic.

In short.... Not all light particles make it here from the sun, but damn the result is stunning anyway.

[bowtiepastabitch]

Heaven's Not Homophobic in Good Omens, and Why That's Important

I need to preface this with, I am not trying to start a fight or argument and won't tolerate any homophobic or bad faith arguments in response to this. Cool? Cool.

This is in large part inspired by this ask from Neil's blog, which sparked some discourse that I don't want to get involved in but that brought up some analytic questions for me.

He goes on to reblog a question asking about Uriel's taunt specifically, clarifying that "boyfriend in the dark glasses" can just as easily be read/translated from angelic as girlfriend or bosom buddy. The idea is that an angel and a demon "fraternizing" is seriously looked down upon, not that heaven is homophobic. And that's super important.

We see homophobia in both the book and show, of course. Aziraphale is very queer-coded, intentionally and explicitly so, and we see the reaction of other humans to that several times. Sergeant Shadwell, for example, and the kid in the book that calls him the f-slur when he's doing magic at Warlock's birthday party. These are, however, individual human reactions to his coding as a gay man.

I am, personally, not a fan of heaven redemption theories for the show; no hate for people who want that it's just not something I'm interested in. I don't believe that heaven is good with bad leadership, or that God Herself remains as a paragon of virtue. To me, that's not in line with the themes and messages of the show. It's important, however, that heaven doesn't reflect human vices. Heaven can be nasty and selfish and apathetic in its own right without ableism, homophobia, transphobia, or racism. This matters for two reasons.

Firstly, we don't need the -isms and -phobias to be evil or at least ethically impure. In a world where we spend so much time fighting against prejudice and bigotry, our impulse is to see that reflected in characters whose motivations we distrust or who we're intended to dislike. While it's true that that's often the big bad evil in our daily lives, it can really cheapen the malice in fictional evil from a storytelling standpoint. A villain motivated by racism or as an allegory for homophobia can be incredibly compelling, but not every bad guy can be the physical representation of an -ism. Art reflects the reality in which it's crafted, but the complexity of human nature and the evil it's capable of can't be simplified to a dni list.

Secondly, and I think more importantly, is that for Good Omens specifically, this places the responsibility for homophobia on humanity. If you're in this fandom, there's like a 98% chance you've been hurt by religion in some way. For a lot of us, that includes religious homophobia and hate, so it makes sense to want to project that onto the 'religious' structure of Good Omens. It's a story that is, in many ways, about religious trauma and abuse. However, if heaven itself held homophobic values, it would canonize in-universe the idea that heaven and religion itself are responsible for all humanity's -isms and -phobias and absolve humans of any responsibility. Much like Crowley emphasizes repeatedly that the wicked cruelty he takes responsibility for is entirely human-made, we have to accept that heaven can't take the blame for this. To make heaven, the religious authority, homophobic would simply justify religious bigotry from humans. By taking the blame for religious extremism and hatred away from heaven and the religious structure, Good Omens makes it clear that the nastiness of humanity is uniquely and specially human and forces the individual to take responsibility rather than the system. Hell isn't responsible for the Spanish Inquisition, which by the way was religiously motivated if you didn't know, and heaven isn't responsible for Ronald Reagan.

This idea is perhaps more strongly and explicitly expressed in the Good Omens novel, in the scene where Aziraphale briefly possesses a televangelist on live TV. It's comedic, yes, but also serves to demonstrate that human concepts of the apocalypse and religious fervor are deeply incorrect (in gomens universe canon) and condemn exploitation of faith practices. Pratchett and Gaiman weave a great deal of complexity into the way religion and religious values are portrayed in the book, especially in the emphasis on heaven and hell being essentially the same. They're interested in the concept of what it means to be uniquely and unabashedly human, the good and the bad, and part of that is forcing each individual person to bear the brunt of responsibility for their own actions rather than passing it off onto a greater religious authority.

Additionally, from a fan perspective, there's something refreshing about a very queer story where homophobia isn't the primary (or even a side) conflict. The primary narrative of Good Omens isn't that these two man-shaped-beings are gay, it's that they're an angel and a demon. The tension in their romantic arc arises entirely from the larger conflict of heaven and hell, and things like gender and sexuality don't really matter at all. Yes, homophobia and transphobia are very real, present issues in our everyday lives, but they don't have to be central to every story we tell. There's something really soothing about Crowley and Aziraphale being so queer-coded and so clearly enamored with each other without constantly being bombarded with homophobia and hate. It's incredible to see a disabled angel whose use of a mobility aid makes no difference in their role and to see angels and demons using they/them pronouns without being questioned or misgendered. It's all accepted and normalized, and that's the kind of representation that we as queer people deserve.

[margareth-lv]

⛓️ When art and life become one ⛓️

I believe fairy tales have a great deal of therapeutic power. And there's nothing quite like a good story.

As I’ve written here a few times before, I first started watching Outlander in 2020 – a challenging year for us all. At that time, we all needed a good story to take our minds off reality. And to move into the catharsis that art offers. You can imagine my excitement when I realised that two actors (who were so obviously in love) playing the characters in the story were born around the same time as the characters they were playing.

James Alexander Malcolm MacKenzie Fraser, born on 1 May. Sam Roland Heughan, born on 30 April. Both Taurus, just like me. Claire Beauchamp Randall Fraser, born on 20 October. Caitríona Mary Balfe, born on 4 October. Both Libra.

And, as you might expect, in both the play and real life, she is older than he is. Isn't it wonderful how things just fall into place sometimes? There’s always something to ponder, think about and enjoy.

But it's been a while since we've seen joy in "enjoy." The Taylor Swift concert is the exception that proves the rule, here.

I'm getting tired of the low-level storytelling we've been presented with for a while now. This story is the worst of the worst. It’s a pretty poor selection of C, D, and E cinema.

And it's pretty sad how two people, who literally built their relative public recognisability on being the 'hottest couple on the screen', are now pathetically role-playing their supposed 'real love lives'. And neither of them succeeds. They're also pretty weak actors in their roles of romantic lovers (I'm thinking mainly of Sam here). Let me just say that they're not pathetic only when they're together. *** *** *** When I saw the blurry, embarrassing footage from this weekend's Giorgio Armani Tennis Classic (tagged #ad on Sam's Instagram), my first thought was that it was a spectacle for us, our Tumblr fandom. There's no one else who would be interested in something you have to look for with a magnifying glass, zooming in, spending long minutes stopping frames of film. Then I got reminded about the Wimbledon Tennis Championships back in July 2019 and another poor performances by 'bride' and her 'groom' a month before their 'wedding'.

Do you remember those pictures?

First wife, second wife, Claire Beauchamp Randall Fraser and Laoghaire MacKenzie, I mean, Evie Greenwood, a primary teacher.

You know, realism and art all blend together.

We first saw this kind of kissing being reduced to sucking on the partner's upper lip in what we were forced to think was Sam’s ‘real life’, and then we saw the same thing on screen.

And what about Sam's somewhat embarrassing performance in The Couple Next Door? Which other actor in that film has exposed themselves so much (and so pointlessly), in a literal sense?

How many of us thought Sam's performance in the erotic scenes in TCND was not sexy at all, but disgusting?

I did.

Wasn't that display of Sam's rhythmically moving buttocks as distasteful as his other performance a few weeks ago?

Seriously, I would never want my husband/partner/father of my children to behave like this. There's no money worth it. But maybe there is.

Sometimes I feel sorry for them, sometimes I don't. Sometimes I remind myself of how jealous Cait can be.

How on earth do they manage to live like that?

[3 July, 2024]

[donnapalude]

i find something very interesting in what the show has done with claudia's ambivalent relationship with truthfulness, honesty, narrativisation, and storytelling.

claudia is, by and large, depicted as someone that feels some distaste at the idea of embellishing emotional truths by providing too much context, reasoning, or justifications for them. she is not blind to the existence of these things and in fact she is quite a good judge of character. but i believe she perceives it as a weakness to feel the need to organize them in a self-created narrative in order to give some meaning to life events. it feels deliberate that she enjoyed storytelling when she was younger (see, her semi-mythology about angels and devils) and then stopped after her father made her stare at the boy (who called her an angel!) she loved and killed while he was burning. i think she knows, from then on, that a story has no power and it changes nothing. to keep telling it would feel like intolerable self-deception. she would not disrespect what happened by painting a pretty picture about it and, from that point, she never does again.

this mindset, i believe, is also compounded by growing up around two parents extremely inclined to narrativisation as a method of obfuscation. she is perceptive enough to correctly guess this tendency stems from a fundamental inability to face their respective realities, although in almost opposite ways. lestat seeks to control his internal reality by attempting to warp his external one. which is to say, he lies to others to manage their perception of him because he is unable to deal with feelings of insecurity and rejection. louis seeks to control his external reality by attempting to warp his internal one. which is to say, he lies to himself to manage his own self-perception because it's the only way to survive the awareness of the coercions that society (and his various families) put on him. regardless, i think claudia sees how vacuous their attempts are in avoiding pain to themselves and others and she despises them for it. both for lacking the courage to do away with the attempts and for not being able to make them work (secretly, maybe unconsciously, it would be good to have some faith back).

at the same time, claudia keeps writing multiple diaries, loves theatre and loves acting. the diaries seem to become less cinematic over time and she is aware that when she watches a play or she is on stage there is no truth being tarnished, the story is all that exists. still, her intense search for these alternative forms of narration reads to me as a residual longing for the power of storytelling. it's no coincidence, i think, that in order to kill lestat, who had been initially responsible for destroying that belief and who she feels all-powerful, she needs and dares to tell herself one more story: the one about the vampires in europe that will love her, if she can just get through this. apart from that, i think theatre and her diaries represent the last refuge where she can relive the illusion that telling stories has some meaning and some impact. which makes it particularly cruel that the stage is then used as a place where stories become powerful again and they are deployed to first trap her and then kill her.

given all this. i think it's fair to say that claudia usually strives to be both truthful and honest: even the lies she concedes to telling are usually not flights of fancy but stick close to the truth. and they are borne out of a pragmatic need for self-preservation, not a desire to avoid uncomfortable realisations. she makes, overall, an heroic attempt to bear both her internal and her external reality, without trying (unless it's a matter of survival) to forcibly control them, but just accepting them and doing her best with them. the issue with her reasoning i feel, is that, while narrativisation can be a form of deception, it is also in many ways the only mean of creation of a sense of identity. i guess this point is debatable according to the philosophical tradition one draws from, but i would personally argue there is no ontological stable self that exists outside of our own perception. what exists are our thoughts and actions. and "identity" is the net that ties them together, created by the dialogue between the narrative we weave over them and our own reactions to that narrative. the moment the self begins a self-referential recounting, it is already in the realm of intrepretation. which does not mean truth and honesty don't have a role in this: there is, i believe, honesty in recognizing and accepting our actual thoughts and feelings and actions. but after that, their interpretation is always a truth created.

there are two consequence to this for me. the first, is that it becomes evident at some point that an abandonment of any recounting leaves you bereft of lies but also berefts of truths. claudia has no real tools to make sense of her interiority. in the few brief scenes where she explictly talks about her feelings regarding her traumatic experiences, she is merely able to make a list of facts and stark sensations. her conclusion about the "collision" in her, her sense of brokeness, being "i don't know". her conclusion over the retelling of her assault being simply "it fucked me up". i see in her a deep difficulty in re-elaborating her feelings and connecting them in a unitary vision, which deprives her of the possibility to consolidate an assessment over the impact of events on her identity and build something new on it. the second, is that her diaries by nature cannot escape being a form of narrativision. at least to some extent. even if she tries to describe "reality" as close as possible, the moment she puts pen on paper and decides which stories to tell and how, she is creating her own intrepretation. so yes the diaries are technically a truthful source, but the concept of truthfulness is not so uncomplicated that we can equate it to mean "objectively reliable".

as a final consideration i will say that i find claudia profoundly moving and brave in her decision to never close her eyes before life, and in the end, even before death. and even more so because hers is not a meek, passive stance. surrounded by liars and cowards, she is smart enough to see that truth is a very powerful weapon against people that can't bear it. when these people hurt her, she has no need to warp reality to hurt them back: she just puts them before themselves and lets them macerate in their own reflection. and this commitment to the truth stays with her until her final act and then transcends her in some way: as she fades, for once, it's lestat that cannot close his eyes.

[beguines]

Landscape helps capture the forms in which nations and movements literally and figuratively 'construct' or 'produce' nature, engineering its appearance and infusing it with significations—rendering landscape a 'cultural practice' rather than a given fact. Here landscape is both an object of investigation and a site of intervention; the very medium within which power and resistance are represented and conducted. Put differently, landscape is far from a neutral backdrop but is rather activated, serving as the medium of violence. Dispossession, deforestation, planting, land-grabbing, and acquisitions, privatization, re-modeling, clearance, or the destruction of infrastructures of life, including food sources, buildings, or supplies, all mobilize the landscape in their domination.

Representations of Middle Eastern and North African landscapes nearly invariably include desolate scenes of endless empty and parched deserts, decorated perhaps with an isolated string of camels, or a beach with large mounds of golden sand, a minaret, or an oil tower in the background. The temporality and general impression of these landscapes is slow, hazy, and dizzying, as if they are waiting for 'activation' by someone or something outside of it. Whether reproduced in academic scholarship, literature, film, tourist advertisements, or news media, these imagined colonial representations of the region's landscape place the environment centrally within them, projecting an understanding of the Middle East and North Africa as marginal, on the edge of ecological viability or as a degraded landscape facing imminent disaster due to human inaction. With this, an environmental imaginary enabled storytelling that pushed forward imperial interests in the name of 'development' and, later, of environmental 'sustainability' and 'protection.' In the case of the constructed 'Middle East,' as Diana K. Davis explains,

"Deforestation narratives have been particularly strong in the Levant region since the nineteenth century, where some of the most emotional accounts of forest destruction have hinged on the presumed widespread destruction of the Lebanese cedar forests illustrated in the cover image by Louis-François Cassas. Similar narratives of overgrazing and desertification were used during the British Mandate in Palestine to justify forestry policies as well as laws aimed at controlling nomads, such as the 1942 Bedouin control ordinance, in the name of curbing overgrazing. Such environmental imaginaries, once constructed, can be extremely tenacious and have surprisingly widespread effects."

In Palestine, the construction of an 'Israeli landscape' to redeem the purported damage done to the land by its indigenous population commenced with the first Zionist settlers in the nineteenth century and intensified with the establishment of the State of Israel in 1948. Reflected in former Prime Minister David Ben Gurion's 1951 public address to the newly formed Israeli Knesset (Parliament):

"We must wrap all the mountains of the country and their slopes in trees, all the hills and stony lands that will not succeed in agriculture, the dunes of the coastal valley, the dry lands of the Negev to the east and south of Baer Sheva, that is to say all of the land of Edom and the Arava until Eilat. We must also plant for security reasons, along all the borders, along all the roads, routes, and paths, around public and military buildings and facilities [ . . . ] We will not be faithful to one of the two central goals of the state—making the wilderness bloom—if we make do with only the needs of the hour [ . . . ] We are a state at the beginning of repairing the corruption of generations, corruption which was done to the nation and corruption which was done to the land."

This 'Israeli landscape' was largely cultivated through the multifaceted and by now well-documented eco-colonial practices of the quasi-governmental Israeli organization, Keren Kayemet L'Yisrael, the Jewish National Fund (JNF), which has since made striking efforts to position Israel as an environmental pioneer. Established in 1901, the JNF may very well be the first transnational environmental nationalist NGO, seeking to 'make the desert bloom' by planting forests, natural reserves, and recreational parks over the ruins of Palestinian villages, holy places, and historical sites. Distinguishing itself from other transnational Zionist organizations, such as the World Zionist Organization and the Jewish Agency, the JNF has since its inception portrayed itself as an environment-oriented nationalist organization, supporting the 'redemption' and 'reclamation' of the land through colonial policies presented in the language of preservation, maintenance, protection, and development of vital ecosystems and ecologically sound environments. Indeed, its public-facing promotional materials boast proudly that "Israel is the only country in the world that entered the twenty-first century with a net gain in the number of trees"—without context, of course, of the ways in which trees and the 'greened' landscape in the country are mobilized as weapons of erasure as part of a colonial imaginary that naturalizes non-Palestinian presence.

Shourideh C. Molavi, Environmental Warfare in Gaza: Colonial Violence and New Landscapes of Resistance

[tangyyrine]

My Yaelokre OC based on a magpie, Sorrel! They are a wandering healer and performer :)

More info about them under the cut 🌾

-They use song and dance in their performances, usually a retelling of myths or stories Sorrel has fabricated about their magpie persona

-The only payment they require for their aid is stories from those they helped (some stories they find particularly interesting may find their way into one of their next performances). They may seek out a good meal and a place to stay, but this is less important to them and they won’t mind if they do not get it. They are good enough at providing for themself

-They are very solitary. They often travel for weeks on end without coming across anybody on their journeys, and they don’t mind it

-Their mask is also made to resemble a plague doctor’s mask

-Pretty much nobody has seen them without their mask

-Their “wings” are made from feathers they’ve collected from all kinds of birds (glued together and painted to look like magpie feathers). They have strings of bells and red cloth attached to them. Both wings connect onto small hooks on their gloves and on their back. The wings are used in performances and are removable. In the drawing Sorrel is in the process of putting them on, so one wing is connected properly to their wrist + back, and one is getting attached to their back

-On their belt they carry bags of herbs (for healing and blessings), a knife, trinkets ™️, and nuts/berries/snacks (most of which will end up being fed to birds they encounter on their journeys)

-Loves to collect shiny objects (based on folklore about magpies loving shiny things)

-They can make a warbling humming noise (mimics magpie song)

-They have admiration for the Harkers, particularly the Storyteller

[mtkay13]

A toast to freedom. more info below!

I'm back......... -sigh- I'm so behind on everything I want to post and ofc i just gotta.... post my latest pieces instead of catching up. Oh well. So the illustrations mostly speak for themselves but I know I can find stuff to say about them, so-- First of all, the right side was drawn first, and it was not supposed to be about the nails nor was it supposed to have a companion piece in the first place. I'll be real: I just wanted to draw ZZS's big chest and make it classical portrait style. But I also ended up sort of horny-bonking myself into adding some substance and storytelling to it and put a nail right there (how convenient), haha. It did give me the idea of making a mirrored image, a year and a half later, of ZZS and six nails in, right before he's about to leave--particularly because it illustrates something I've always been QUITE peculiar about when it comes to designing ZZS, and it's the state of his body. At the start, it struck me how in the book, he's described as being skeletal--and how much priest insists on that. I pretty much immediately started trying to draw TYK ZZS as very skinny, because I felt it would make the nails much more dreadful (on top of being faithful to canon which I'm also a bit prickly about). Somehow, while ZZS being well built otherwise is both mentioned in canon a couple of times and influenced by how he looks in SHL, I later found that pushing it a bit further would increase the contrast with how he looks like in TYK and make the nails' impact on his body and health even more striking. I guess that from there, over the past year, I made him bigger and bigger....... I assume because I found it was interesting? (I mean, I still do, but--) Mainly because I love that such a big dude can nonetheless make himself completely unnoticeable, and this image of a tiny grandma turning around a corner and unfolding herself into a big buff guy.... ALSO HLY's looming shadow being this big threatening guy....... IDK ITS MY JAM (not to mention, again, that it's such a strong contrast with TYK ZZS!) A little note--I think I've mentioned so before, but working in animation, I've gotten the habit of trying to "push things" or exaggerate them to make them a bit bolder and striking/powerful. I definitely feel like it has been an impulse on both ends; in the way I draw the skinnier, skeletal ZZS as well as in the way I draw the healthy, top of his game ZZS. Exaggerating things slightly and pushing them out of the molds is an interesting exercise overall, especially with character design (even if at some point we end up toning those exaggeration down, we can at least keep the more interesting elements developed through exaggeration.) So yeah. I thought the two would work well together, and I tried telling things through their expressions, posture, etc.

[spacebarbarianweird]

Hi! Love your writing and I wanted to give you some food for thought, see if it interests you perhaps 🤭 Astarion×Tav is usually about someone smaller in size and maybe a druid or healer, but my character is a tiefling berserk barbarian... with a bigger body size... horns and tail in all their glory... if you are interested I'd love to hear if you'd got some headcanons for a character like this? 💕🙏🏻

Hi! When imagining a bigger f!Tav with Astarion, I can't stop thinking about Gwendolyn Christie (aka Brienne of Tarth) and Nikolaj Coster-Waldau (aka Jaime Lannister). Look at the photos of them, especially when Gwen wears high-heels (and she also has a husband who is much shorter than her but sews all her dresses to make her the most fabulous 6.3 ft tall woman)

Also, Neil Newbon plays a bigger druid, Tav. He was shocked that she picked Astarion in the first sex scene ^-^

NSFW Version

Masterlist

Headcanons

Astarion x F!BulkyTav

When you hug, Astarion's face is right up against your chest, and he can hear your heartbeat.

Which is soothing to him.

The running water problem is solved! You lift Astarion "bridal style" and put him onto your shoulders to cross the river.

Astarion is grumpy about it every time.

But deep inside, he enjoys it.

Need a better view to aim? Well, you are right here in all your barbarian 6.3 ft. glory!

Astarion can't take his eyes off how graciously you walk with a two-handed ax on your shoulders.

And once you both return to the civilized world, he will get you a dress and high heels.

Because with high heels and a dress, you will look like a gods damn goddess of war!

Is he intimidated by the fact you are taller? Never. You are his big and powerful wife, and he's proud of everything you do!

You are a big spoon, of course. And being wrapped in your hands makes Astarion feel warm and safe.

When in rage, you don't feel pain, and it hurts him to see you wounded and with broken bones

He puts your head on his lap and strokes your hair to soothe you after the battle.

Once, Astarion was caught off guard by vampire hunters who beat him and left him helpless in the sunrise.

You managed to get there right in time to crack the hunters' skulls.

And quickly carry Astarion to the safety and darkness.

Unfortunately, the merciless sun burnt him enough to slow vampire regeneration, and it took Astarion a month to fully recover.

All this time, you nurtured and fed him, telling him stories and legends of your people and only leaving him once you needed to fetch some food for yourself.

Seeing him being able to walk again was the happiest moment of your life.

When he drinks your blood, it's him sitting on your lap.

"You are a messy eater, you know that?" you ask, seeing him covered in your blood.

"You are a terribly messy eater, I hope you know that?" he comments, looking at you eating a boar's leg.

He laughs at you being not so discreet in the wilderness and attracting all sorts of enemies in your journey.

"Darling, you are loud like an ork and have the manners of a giant!"

Once you got so drunk in a feast after killing a dragon, you came to Astarion and started talking different sweet nonsense.

"I want to have silver-curled babies with you. Imagine how fierce they will be!"

Indeed, you are strong and fierce, wearing the heavy armor set, but you are still a woman, a woman Astarion loves and takes care of.

"Wear a helmet, Tav! Last time we had a quest, our half-ork companion used your head as a battering ram! Get the fucking helmet!"

Once, the enemy was too strong, and you ended up severely wounded. The most challenging thing for Astarion was to get rid of the heavy armor on your broken body to carry you to a safe place.

The view of you in pain and agony traumatized him so much he didn't dare to leave your side until you fully recovered.

You want to die in a glorious battle and bards to make songs about you.

Astarion promises you not to step into the sun once you die this glorious death but to make sure every bard and storyteller knows about your deeds and adventures.

But until then...

You have plenty of things to kill!

Hope you enjoyed it!

[dappervoided]

Docs vacation to Quesadilla Island!

So I watched Docm77 last Hermitcraft season 9 episode today and RAN to make this.

More so on the topic!

He needed to take a break and get his creative juices flowing? What's a better break (nightmare) than to come enjoy the island for a short while!

I've been spinning around the idea of Qsmp and Hermitcraft crossover since the start of Qsmp. There's so many ideas in my brain about this topic even though it'll never actually happen! I'm so sorry, but some things are bound to get out of my daydreams and materialize into doodles!

I think Doc would LOVE the eggs! Not to mention all the cute creatures they'd show him! He'd get attached instantly, they're too adorable!

I could only fit 3 here without making it too busy, but I wanna expand on what I could see the interactions being. Massive ramblings, often grammatically incorrect ahead:

Sunny - now we all know she's a material princess, they'd love Docs bedtime stories about the diamond pillar wars and his incredible contraptions made of diamond in the Perimeter and all the riches he had. Now Tubbo not only has Pierre to watch out for, but Doc also, cause Sunny would beg him to make stuff out of diamonds to show off!

Empanada - she'd clock in instantly that Doc is a German and would try speaking to him in German every moment she got. Now she has both her mom Niki and Doc to talk in her language to! It's not much of an expansion, but she appreciates it a lot! They'd have many delightful conversations and Doc is always happy to have her build little things together. They learn from each other!

Ramon - besides finally having another redstone genius with an entire Hivemind on the server, Ramon would be interested in how Doc works - both in a cyborg way and in the way he creates mind-blowing, game breaking contraptions. If they're not destroying the server together for fun, they're not making the most of their time! Jk, but it do be nice when both of them get to hang out and show each other what they discovered that's scuffed on the server.

Some eggs that aren't drawn:

Chayanne - finally! Another farmer came around! Chayanne would show off his impressive potato farm and cooking skills to Doc, who will always be amazed at the kids dedication! Doc can finally have his tomato farm in a Minecraft world now, since the mods allow it! It is too free for everyone to use

Tallulah - If she would show Doc the incredible builds she made and her and her papas place, he would be moved to tears! Everything is made with such love and incredible amounts of effort and thought! From her farm of all possible plants, to her garden and to El Cielo De Las Tortugas. Such incredible places to visit and appreciate! And Tallulahs amazing way of storytelling would only serve to amplify those feelings

Dapper - now besides trying cage trap Doc 1000x times, Dapper would definitely show off everything he got once he discovers that Doc is deeply amused and surprised by all the non vanilla things! They would invite Doc to their base to show everything and I mean EVERYTHING there is for show. It's definitely too much, but Doc is very impressed by her and would praise how much work she puts in! Dapper do be the definition of GRIND!

Leo - Leo and her dads made so many incredible builds, Doc would be amazed at how much they did in such a short time! Besides that Leo herself is an incredibly, theatrically even, good at body language and expression! He'd die of cuteness and laughter like all of us already do!

Pomme - we all know that Pomme has so many talents! From being a little musician, to an incredible warrior, to a thought out builder and a spectacularly emotional writer. There's a lot Doc will have to slowly discover about Pomme! And each time the scale and depths of things will get more and more impressive, because the share amounts of time and effort she puts into her creations, passions and loved ones is massive!

Pepito - this kid! Pepito is such an incredible character to be around! Pepito is so dedicated to whatever Pepito does, especially if it's with friends! Whenever Pepito has fun, it always radiates outwards in many different ways! You can't really help yourself but get charged up with energy when you're around. And Doc does just that!

Richarlyson- Richas is a lot in the best ways possible! But we all know he's very much a jokester, he wouldn't miss a beat trying to mess with the goat! And once he finds out what kinds of retaliations Docs is capable of? OH IT'S WAR (for fun, cause that's what it's all about!)

I'm sorry if this is chaotic at some parts or lacking in others, I have to write this all in one go before my battery dies. I haven't been able to watch many streams so I'm sorry if Im not up to date with the characters, but that is what I remember them as! Any corrections or lore updates are always welcome! I want to learn more, especially now that I can't watch!

Anyhow, now that I look back on that drawing why do I feel like I've done something terrible.... I've seen those designs before......

OH NO

[comicaurora]

Hey red, what's your opinion on some modern writing that's very lamp shady? And do you have any advice on how to avoid "Well that just happened" dialogue?

It's an interesting question!

The thing is, lampshading exists for a reason, but it's not the reason it gets used a lot of the time. Writers might lampshade a narrative choice they're insecure about, while characters lampshade because the things they go through in a typical story are kind of bonkers, and we might expect them to notice. If a character signs on for a simple mercenary expedition and ends up discovering they're the long-lost prince of a kingdom they've never heard of, that's weird and they probably feel weird about it. If an ally is determined to 1v1 their super overpowered nemesis with no help from their friends, those friends might have opinions about how dumb that is.

This is a form of lampshading that doesn't break immersion because it's entirely in-character and doesn't lean on the fourth wall. There's a difference between a character noticing how weird their life is and a character pointing out how cliched a recent experience was. In the latter case, the character is treating their life like a story, and while it IS a story, they shouldn't know that.

There's a spectrum here, with "complete sincerity and taking every turn of the plot at face value" defining the 0-point and "complete self-aware uninvestment" at the far end, but healthy levels of lampshading live somewhere in the middle. Characters at the 0-point accepting everything that happens without question can feel just as weird as characters that won't stop pointing out the TVTropes entry they're currently living. It's about what it makes sense for the character to find disruptive or noteworthy. A hardened badass probably won't see the need to point out how bonkers a recent fight scene was, but a newcomer to the Cool Bombastic Adventure scene might be really excited when they pull off a cool special move and want to point it out.

I think this is why the recent D&D movie worked for a lot of people, because while the main characters all lampshade their lives to varying degrees, the way they do so makes sense for all of them. Edgin is a bard and storyteller so he has a slightly meta perspective on a lot of things, purposefully avoids playing along with certain narrative conventions and sometimes responds to other people's dialogue by critiquing their dialogue instead of just responding normally; Holga doesn't really care to understand how the world works and so keeps pointing out that they should just use magic to solve their problems, which is probably the most popular lampshade in the whole genre; Doric and Simon don't get a ton of time to shine character-wise, but they'll both occasionally poke holes in the pretense of the story they're in. The thing that makes this all work is Xenk, who plays absolutely every moment completely 100% straight and is entirely immersed in the objectively ridiculous setting of D&D. Same goes for most of the villains, except for Forge, who's probably the wackiest and most self-aware character in the entire movie, but in a way that makes him feel callous and disregarding of the people around him, like he's uninvested in the world not because he knows he's a fictional character but because he has too much money and power to care about anything. The ways each character does or does not lampshade their surroundings make sense for who they are as people and reinforce their characterization and place in the world instead of undermining it.

I recently watched a couple episodes of Stargate Atlantis and noticed something similar - the main character and, to a lesser extent, the rest of his associates from Earth have a tendency to make wry observations about his objectively bizarre life and the eccentricities of the people around him, which helps contrast against the extremely serious and businesslike Cool Space Warriors they keep accumulating, which helps make them feel (a) distinct from each other and (b) relatable considering all the weird stuff that happens. And the protagonist switches off the quips as soon as things start looking perilous for his team, so you never get the impression that they aren't invested in the story they're living, and as a result the various quips and lampshades come across more as a habit or a coping mechanism than a disruption to the narrative itself.

So basically I think you can get away with a lot of lampshades as long as the character doesn't feel like they know they're in a story.