#But i do think its problem was not having side characters when they clearly could have

[maipareshaan]

I'm binging stargate sg1 and i'm at s6 or s7 and i think i had more fun binging spn actually. Well for one more comedy in that and s4 is just really good but also sg1 is soooo slow and some depictions are so weird and dumb and boring but like its pretty good and complex at times so.

[anim-ttrpgs]

Reading the book, and I'm already loving it. I agree with a lot of the things y'all say in it (players control the characters, not the narrator, etc.), but I was surprised at the strong insistence on 3rd person play.

Personally I like 1st person play because it helps me with immersion. If I play in 3rd person then my mental camera goes 3rd person, which feels more like playing a video game and removes that thrill of embodying someone else and living in a new world.

Usually I see people either take a strong pro 1st person stance, or a noncommittal stance, but this is the first time I've come across a game that insists on the 3rd person. I'm curious about the reasoning behind it. Was it just a philosophical decision, or did it bear out in playtesting that 3rd person was the better method? In the book y'all acknowledge that 3rd person play doesn't eliminate the threat of griefing from bad faith players.

Y'all clearly put a lot of thought into the game, so that really interested me. Could be a good learning opportunity!

I passed this on to one of our team and this is what she had to say:

In addition to our own home table just preferring to play in 3rd person, we believe that perspective is an important element of TTRPGs that doesn't get explored very often in the modern landscape. The games we play are composed of language - not just the words on the page, but the words we say at the table. Changing the verbiage will create a different emotional space, and a different experience. That zoomed out mental camera you describe is part of the point! In any TTRPG, players are always two things: participant, and audience. The narration we employ at the table affects the game world, yes, but we are also the only people there to see it play out. Eureka strongly emphasizes the "audience" side of that equation, and wants to frame the "participant" side as an act of authorship and discovery rather than one of inhabiting the world.

Just on a fundamental level, perspective is a defining part of any media - the camera angle in a movie or video game, the person of a book's prose, who tells the story, and who they tell it for. The way we frame a story changes the response it evokes. As you say, you've seen either strong pro-1st-person stances or neutral ones, but not a strong pro-3rd-person stance. I don't think that's because 1st person is inherently better for this sort of game, I think its because there is a tendency in the hobby right now - for a variety of reasons - to treat TTRPGs like a form of improv theater. That's not a problem in isolation per se, but I think it's one that limits what the medium can be or do. TTRPGs can be improv theater, but is that all they can be?

On a final note, we have also seen the insistence on 1st-person play and the approach of "embodying" a character occasionally cause real harm when the people involved have trouble separating player and character. That's also part of the reason we're so insistent about these being two separate people, because investigators tend to do some pretty messed up things (this being a horror focused game, after all), and we don't want people equivocating their friends with the characters they play when that level of emotional intensity is involved. Many people who play in 1st person are able to engage with that in a healthy way and understand the difference, of course, but I think it's hard to deny that the language makes that equivocation easier.

- @ashweather (person from out team who doesn't normally run this blog)

Adding on myself, another thing that I always like to bring up in this discussion is that first-person verbiage did not used to be so universal! Playing in the hobby even 4 or 5 years ago, you'd see (or at least I would see) a mix of third and first person verbiage at tables, and even people who used both interchangably. It's only in the past few years that third-person verbiage for TTRPGs has gone practically extinct, and i think most of the blame lies at the feet of big-budget "actual play" shows like Critical Role being many people's only reference for how a TTRPG can be played. Critical Role uses first-person, so therefor that's how TTRPGs are played.

I've even had people tell me on multiple separate occassions "that's wrong" when I'm trying to use third-person verbiage for TTRPGs, when playing with rulebooks which explicitly say in their text early on "you can use 1st or 3rd person to describe your character's actions"! (most, if not all, D&D edition rulebooks say this!)

In closing, yeah, if Eureka were a video game, it would be in third-person. Eureka doesn't want you in its world, it wants a character.

[thedissonantverses]

The Solas Problem:

A Lesson in Narrative Tension in DATV

This isn’t a Solas critical write-up, nor is it positive. It’s only an essay on how narrative tension works. We take Solas as he is here. Media Literacy 101 is back in session under the cut.

TL;DR: Giving Solas more screen time would have stripped Veilguard of one of its best parts. Solas.

“No real god need prove himself. Anyone who tries is mad or lying.”

We actually have two major problems with Solas right off the bat. The first is power. The power creep on this man is absurd. He’s been around for thousands of years and his magic has affected the fabric of reality in Thedas. He can kill people in their dreams. He can turn people to stone with his mind. The blight. Just…the blight. Altering the course of history is what he does best.

When we first meet him in Inquisition he is a considerable threat but not anything special for Thedas. In his reveal in Tresspasser he sent chills down my spine. In Veilguard he’s had years to accumulate enough power to tear down the Veil. If it had been a real fight with Solas in the beginning Rook would have been obliterated.

Even if Solas was an ally, it wouldn’t work. This is very similar to why Superman had kryptonite because he’s already overpowered without it. If Solas is around the whole game pulling Rook out of every fight, Veilguard would suck. It’d be so boring. There is no good way to deal with his raw power without trapping, severely injuring, or putting him to sleep or on a side quest the whole game. Put a pin in this, we’ll get back to it.

The second large writing problem with Solas is he is ruthless. This man clearly follows his own rules and he’s survived a long time against enemies many more times more powerful than the Veilguard. It’s why Rook and the team seem so “nice” in comparison. None of them would have stabbed their friends for the greater good. None of them could or ever would do what he and Mythal did to the Titans. Whatever his motivations are at any given moment are largely driven by his own sense of right or wrong. He does have one. It’s just not the same as us mortals’. Run afoul of his moral code and you’re dead.

I’m going to go on a bit of an aside but I promise it’s related. The first Alien movie is a good horror move, in part to a technique movies use to great effect. Tease your audience. The reason they don’t show the alien too much is because it would look fucking goofy. No matter how good your effects were back then, a human in a suit moves like a human in a suit. What that movie does really well in its horror is show glimpses of the man in the mask but not the whole thing at once. Let the audience’s minds fill in the gaps.

That’s what Veilguard is doing with Solas throughout the game. We know Solas is powerful. But the first time we see him it’s him failing. Then he’s trapped in time and space. We get echoes of what he can do. We don’t fully realize how powerful until you see him flinging blight back in Minrathous with the same amount of effort a regular character would use to shoot their bow. We get glimpses of his deeper motivations and foibles, but we don’t feel what’s it’s truly like to be in his way until Tearstone Island. We don’t learn about Varric until the wolf has already cornered us.

So why did they trap him?

Trapping Solas in a prison of his own design, where the key is regret, is excellent character work. We know Solas doesn’t see himself as the villain. We know he’s the type of man who thinks of himself as not just Elgar’nan’s equal, but his better. Which, maybe he is, but he is still a self-righteous man with rivers of blood on his hands who was ready to destroy the world Thedas has become in order to restore a past that can never be again. Solas is static. Unyielding. Frozen by regret. He won’t change to suit the world, he will change the world to suit him.

The examples used of how Solas could be dealt with work, but to varying degrees depending on how well they’re executed. Why matters as much as how. What the writers did was look at Solas’ prior character work and pick the best one to suit him. The way they executed this solves multiple problems at once, using the character’s own fatal flaw against him.

It’s a simple solution, really.

[zeropro]

What are your thoughts on transformers prime and transformers one?

TL:DR I liked both! TFP was my first Transformers show that I watched all the way through and TF1 was a lot of fun! Opinions on Starscream under the break pfpfpfpfpfpf

Prime was literally my first Transformers experience (Okay that's not true, I did see the first Bay movie when it came out but lets not talk about that). It's really good! My favorite character was Ratchet, I loved that he's just a tired, grumpy, racist old man and he's a doctor. Knock Out was the best thing to come out of TFP and he really should be in more stuff. Really would have loved a fourth season but it wouldn't have been the same without the children around. I liked what we got!

Prime has an excellent Starscream, Steve Blume does an amazing performance with both his deep conniving gravel and his high pitched terrified sputtering. So much character in his animation too, especially in later seasons, and an incredibly compelling character arc. Prime Starscream is not a good person, but I would burn the world for him, and I like the small moments in the show that hint at something in his character that could be turned to good, but circumstance always works against him in that regard. He's just so pathetic, but also competent and dangerous, all the best qualities of a Starscream and a very unique design!

Transformers One was quite good, I was worried because of the trailers but I was surprised by how well executed it all was. None of the characters were annoying, and making Optimus Prime originally one of the oppressed class alongside Megatron was a good move. The scene where Orion gives Dee the sticker is so cute, I simply cannot. The ending felt a bit rushed but what can you do, it wasnt so bad that it's a problem for me.

I would have loved just a little more Starscream in the movie! Like, I knew he wasn't really gonna be in the movie much so i was prepared for it to be little more than a glorified cameo, but I loved a lot of what we did get and I feel like it was missing just a little bit more! Like, the whole High Guard turned rogue backstory he has is great, implies some honor to his character since he didnt keep serving Sentinal when the guy turned Cybertron over to the Quintissance. I think it's hilarious that Starscream is so much older than Megatron. Like, they gave us a lot of food to make headcanons out of, but then the rushed ending kind of left me with no real reason given for him and the rest of the High Guard to go with Megatron without a fight. Like, I think the reason given was that, because Megatron beat him up that one time, and then killed Sentinal, and since the High Guard became a might makes right society and hates Sentinal, I guess thats why they are loyal to him now. And I guess the one line where Starscream is like "all hail megatron" is supposed to indicate he's 100% behind Megatron now and not just a spur of the moment thing. And I guess them following his command to destroy the city is why theyre being banished. But like...idk, every other plot point was well established and properly played out, and the whole decepticons thing just didnt really feel like enough, and i kind of feel like it should have been more clearly communicated considering its an entire one side of a two sided war? I feel like we werent shown the high guard doing anything egregiously bad besides attacking people because megatron told them to.

Like, there's nothing in the movie to suggest that Starscream and the High Guard arent still loyal to the Primes. So when Orion comes back as a prime, like a proper prime, with the matrix and everything, which everyone knows will make the energon flow again, I'm surprised Starscream didnt at least try to make excuses or worm his way into avoiding banishment? My headcanon is he wanted to kill Sentinal as bad as Megatron and so when Megatron finally does what he failed to do for 50 cycles, he's like aite im ride or die for this guy. Maybe 50 cycles of living in the wilderness doing nothing but scout and pit fight all day changes a guy and they dont wanna live in a society anymore. Why dont they accept Optimus as the new prime? They helped him and Elita save their friends, and unlike Sentinal Optimus has the actual Matrix this time. Idk mang. Woulda liked a bit more.

Transformers One, not my favorite design for Starscream. The head vents going wide at the bottom look weird to me, and his legs are so long and flat.

Thems my opinions!

[raven-at-the-writing-desk]

same anon from the ace UM submission here HELLOOOO I JUST FELL TO MY KNEESSSSS imagine malleus in a fit lashes out because how could they understand the isolation he feels and it just forces ace to confront his own feelings. imagine the final confrontation he straightens malleus out in the usual way that he does considering ace also has a track record of setting people straight (like with riddle and in phantom bride) "just talk to them and let them know how you feel" "stop carrying all these feelings to yourself" his own words probably also came from somewhere deep inside of him that he refuses to face but it just comes up to the surface because he sees himself in malleus. pretty ironic that he'll be calling out malleus when hes doing the exact same. it would give ace the development that ppl say hes been lacking compared to the other charas who all had some kind of further development like the other first years for example

think of post ob where after the dust settled they just return back to their respective loved ones and finally having to come clean about their emotions once and for all.

i just want an emotionally vulnerable scene for ace, mister allergic to facing his emotions, trappola even if its just a side moment that gets overshadowed later HHHH

[Referencing this post!]

*nodnod* Malleus is arrogant and desperate enough to think that no one could possibly relate to these tumultuous emotions of his. It’d be so fitting for Ace to confront him (and, by extension, his own feelings)—because not only does Ace have a track record of speaking out against others, but he has spoken out against Malleus before in Endless Halloween Night. In fact, he was the ONLY character to continue harping on the guy after everyone else basically forgave him. Ironically, that event was also the one that foreshadowed Malleus’s ability to stop time (which is true of the space contained in his briar barrier). And it all comes full circle…

For Malleus, I feel like him verbalizing his feelings isn’t really the main struggle. He seems to lack the awareness of what he’s feeling in the first place, as he doesn’t realize he’s lonely until Yuu points it out to him in 7-18. Later in 7-29, Malleus speaks openly with Silver about how powerless he feels to stop his subjects from feeling sorrow. It’s true that he has a tendency to project his feelings onto others (hence forcing everyone into happy dreams to avoid reality), but unfortunately projecting is not necessarily the same as empathizing. Rarely does Malleus do the legwork to truly understand others on an intimate level. I think that projection is a function of how Malleus understands and interacts with the world since this is something he does even when he’s not being overly emotional. For example, in his own Dorm Uniform vignettes he thinks it would be easier to bring everyone to him (so as to not miss a dorm meeting) even though this act of magic is considered highly rude by other mages. He does communicate his feelings, albeit sometimes via talking in circles or vaguely—namely in how he speaks with Yuu, sharing stories about his past (in book 7) or sharing about gargoyles to impart advice on how to overcome adversity (in book 3). More blatantly, he declares his intentions to Lilia before sentencing everyone to sleep in 7-37: “Not losing you!”

I also think… to some extent, Lilia already understands how Malleus might feel if he leaves. I get the sense that Lilia was in such a rush to go in the same way that you’d want to rip off a band-aid quickly. The more you prolong it, the worse the pain will be, that kind of logic. And before he intended to depart, Lilia tried to set things up so that Malleus would still be in good hands—inviting him to the farewell party, making sure people from all the dorms were there (perhaps so that Malleus can make new friends).

Malleus could more clearly state his feelings, sure. But I think the true root of the problem isn’t him not communicating—because even if he did so more openly, what would that resolve exactly? Time still moves forward, change still happens, his loved ones still leave him. It might be emotionally cathartic for Malleus, but ultimately he’s still left feeling lonely. The challenge for him is less putting his thoughts into words and more him learning to accept these life-altering changes instead of fighting or resisting them.

I still think that Ace could relate to Malleus in this regard, especially if they call back to 7-17, in which Ace cheerily redirects the conversation. While Deuce, Grim, and even Yuu discuss changes to their lives come summer break (going to the next grade, changing classes, Grim staying at school on his own, not being able to study together anymore), Ace challenges them with lines like, "C'mon, why do you guys have to get all mopey?", "[...] no need to join the mope patrol", " I declare Mopefest officially over!", and, "Frankly, I'm still skeptical any of this is gonna help us figure out a way to send [Yuu] home." It registers as Ace being in denial about the events about to unfold and coping by reassuring others by distracting them (when that reassurance is also aimed at himself), Ace is dishonest with himself and instead redirects those efforts to calling out others, which makes him come off as too mean or pushy even with his own friends (particularly Deuce). It would be nice to get an arc about him learning to be more vulnerable with his own emotions and better understanding those of others.

I get the feeling that Ace will get most of his actual character development and tearful reunion with Deuce, Yuu, and Grim within his own dream rather than in the final battle (the timing of the latter would just be odd). Hopefully Ace's dream written well since he's the last first year to be woken up. Save the best for last, you know?

[alltheboysandgirlsiloved]

I'm sure that many people are going to disagree with me but personally I think that post-Chaos Theory season 2 events Kenji and Brooklynn shouldn't get back together (and it's probably been a long time coming event).

And I have an explanation.

Before any of you bring out your pitch forks - yes, I admit, I was never a big fan of brookenji BUT I understand how they could have developed feelings for each other. Spending so much time together, relying on each other every day, sharing semi-similar experiences prior-Isla Nublar, not to mention simple attraction - those are all valid reasons as to why they could have fallen in love. And, hear me out, I think that their relationship worked well for as long as they tangibly experienced the aftermaths of Isla Nublar/Mantah Corp Island on the Main Land.

What do I mean by that? When you are going through an experience with someone, especially a traumatic experience, you may still kind of feel rooted in that experience even once it ends. It doesn't necessarily mean stagnation - during that time you can develop as a person, and gather new experiences, but a part of you is still living as if it expects to go back to the old ways. That means that you still follow a similar routine, cultivate the same habits, or keep up the same mindset.

However, as time progresses, you naturally move on. Kenji and Brooklynn could still have experienced some side-effects of living on dino-infected island but their minds moved on and started "settling" on the Main Land. Now that on its own - is not a problem. The problem (well, part of it) is that their threads of development started to stray apart. And I want to emphasize here - it is no one's fault, it is a natural occurrence.

By the end of jwcc S5 and in the first season of jwct, we can clearly notice how it is important for Kenji to have something (and someone) to anchor in. That is not surprising at all - he was a mostly neglected child, who saw a hero in his father but who found a real family in his friends. Perhaps that was his first real experience of a family. Naturally, because of that, "family" suddenly (compared to pre-jwcc Kenji) has a whole different value for him, he starts to associate family with new things like safety, mental comfort, stability, and proximity. We see it not only in how he treats Darius in the finale of jwcc S5 but in how, despite it all, he stays in close proximity to Daniel Kon in jwct S1 - because yes, he (probably subconsciously) extended some of these new aspects of a newly discovered "family" even to Daniel. This explains even better his very emotional reaction to Daniel's death - losing a member of a family is almost like a taboo in Kenji's concept of "family". Staying alive was the top priority on Isla Nublar, being alive together was what made the Nublar 6 family real and safe.

I think, to some extent, a member of a family dying itself Kenji almost treats like an act of betrayal (remember that his mother also died when he was a child).

And now we have Brooklynn who not just dies but fakes dying. And Kenji hates deceit - especially after he was lied to by his own father - a member of his "original" family. And here we have Brooklynn - a member of the found family doing the same thing but even worse. She had her reasons, and her reasons are justified, but the justification of something isn't enough to rebuild a shattered core value / core belief for someone else. Listen, Brooklynn can be forgiven but it doesn't mean that Kenji will be able to restore what they had. Like physically and mentally it may actually be impossible for him.

Now it's time for Brooklynn's side.

Brooklynn is a very interesting character on her own because there's one thing that is unchangeable about her and it's the fact that she likes being independent. She was basically a solo internet superstar who was used to doing things on her own throughout her whole life. Now, it doesn't mean that she doesn't need friends or that she can accomplish everything on her own - no, and throughout jwcc (and I predict that jwct is going to make a point out of it too) she learns how to reach out for help and how to help others. She's a good friend - even her motivations in jwct are deeply rooted in the fact that she is just a really incredible friend. But! That is not the only catalyst for her motivations. She is also ambitious and, like I said earlier, very independent. Both of these are very strong, often dominant traits that heavily define her actions. And listen - those are also traits that for a very long time granted her success and, what's more important, self-satisfaction. To put it plainly: it makes her happy when she can solve mysteries, track suspicious leads, uncover secrets - it has always been her thing! And it obviously makes her happy to this day - maybe it's not as carefree happiness but I believe that it's just a more adult version of the same "emotional high". And not only does it make her happy - she's also incredibly good at it.

It doesn't mean that for Brooklynn the Sense of Adventure is more important than family and friends, it just means that stability is not the value she has as much space for as Kenji does. Because for Kenji, whose whole life centers around creating a solid concept of family and home, a sense of safety and stability is a key value, Brooklynn on the other side is always ready to be on the move, she anticipates dynamism from the world. And that's why Kenji, who's slower and more anxious (even if he doesn't voice it out openly!) to accept changes, doesn't quite keep up with her lifestyle.

Post leaving Isla Nublar, the campers (including Kenji and Brooklynn) started developing in new ways - they picked up new traits, gained new experiences, and started figuring out what works best for them. In my opinion, Kenji's life led him to the point where he had to quite physically sculpt his life on his own for the first time and this process takes years. It doesn't mean that he's boring or, god forbid, lazy - it means that as a person in so many ways shaped by a changing concept of family, he needs to build a house for himself - mostly metaphorically. Only recently he started rock-climbing, and found out that he loved it - that's amazing but he needed time and a proper state of mind to figure it out. We can only guess how the rest of his life unfolds but I tentatively predict that some kind of stability - being able to turn around and see the person you love always there and will always reassure you - will be a core value for him. Brooklynn, with a different personality type, clearly picked up some parts of her life that she had before Isla Nublar. She didn't have to build everything from scratch and, ergo, doesn't value the "building" itself as much as Kenji. None of them are wrong in their mindset, in what they value. But having a different mindset makes it much much harder to reach a common ground in a relationship.

And I'm temporarily putting aside that Brooklynn betrayed Kenji on so many levels and basically broke his heart - in a way, I would argue that (though I feel like she was too harsh when she was talking about it with Darius) Brooklynn could also feel as if Kenji hurt her by not giving her enough credit and space which probably was uncomfortable for her because she is, as we established, very independent. So both of them hurt each other in different aspects for sure (this post doesn't aim to put blame on any of them), but the thing is that I think they just grew up to be different people with different needs.

And that's okay.

(I'm sure some of you are going to be mad either way but I just wanted to share my point of view)

[portgasdwrld]

Hello! I read older posts where you mentioned you weren't a fan of your writing. I think you're awesome though! Love your work. c:

I have a suggestion, if you happen to like it. Could we get Zoro (and any other characters) with a shy and aloof female reader who can't figure out they're being flirted with, even though they share the same feelings?

👩🏻‍💻Hey!! Thank you so much for your sweet words it means a lot to me🫶🏻✨ I’m super happy you love it! And yes ofc no problem!! I love the idea 🤭

📂 Zoro+ oblivious shy/aloof reader to his flirting

Featuring: Zoro+ f!reader Warning: none, fluff Note: I rewrote it and very much prefer this version, I hope you do as much as me

Zoro was never the type of man to be outspoken about his feelings

His flirting is somewhat a bit clumsy and he gets frustrated with himself easily. He gets embarrassed by being open with how he feels.

It doesn’t help when you are clearly not reading in between the lines...

He even wonders if you are doing it intentionally to mess with him, but when you just give him a confused look or go on about your day like nothing happened, he questions himself 😭

A sigh leaves the swordsman's lips as his back leans against the railing of the deck. His thoughts wander and they always come back to one thing bothering him: you.

He starts to doubt himself as most of his flirting attempt were fails. A week ago, he complimented your outfit ,but you simple threw a short thanks with a smile as you walked away. Wednesday when he sat next you for dinner and brushed his arm against yours, you just apologized with a blush and slightly took your distance. Yesterday, when he asked to talk to you, but you stuttered a bunch of words and got away from him by grabbing Nami's arm.

He knew better than abandoning. In fact, ever since his feelings for you were revealed to him, all he could think of, was you. You occupied his mind when it wasn't focused on training, he found himself longing to hug you and smile when you do. Although, he thought about not pursuing you, scared it would ruin his focus on his goal. It was in vain, as he realized you were always very supportive of his goal and even cheered him to train harder and achieve his dream. He appreciate it a lot.

The sun is slowly setting on the Sunny, the golden light illuminating the boat. He looks far away, a hand on his swords and his head turns in your direction as your laugh echoes through the ship.

You are playing a card game with Robin, killing time before its time for supper.

His lips naturally curve into a discreet smile as he observes you complain about some move Robin did. You were accusing her of cheating with her ability, sulking over your lost as she quickly denies it with a chuckle. As he watches you, he notices that you did something different with your hair and decide to use it to his advantage.

He approaches you with his usual blank expression, but he slightly hesitate in his steps which caught Robins attention. You smile noticing his presence.

-What brings you here! Wanna play?

You ask him as you show him quickly the pack of cards in your hands with your infamous grin.

-Nah, I’m good. You..you did something new with your hair?

-Oh, yeah! You noticed? Robin said it looked good.

You reply in an excited tone as you touch your hair.

-Yeah, you’re pretty.

-Thanks! I appreciate it

You say with a slight blush due to the compliment, but an awkward silence falls. Zoro stays silent for a moment as he thinks of what he could ad to the conversation but you open your mouth first.

- By the way,..umm I'm sorry about yesterday, i hope it wasn't something important?

You trail avoiding to stare at him as you remember how you embarrassingly ran away too nervous to talk to him. When he pulled you to the side, his eyes staring deeply into yours, you felt like you couldn't breath for a moment. You didn't want him to obviously figure out you like him...

Robin gazes at Zoro before looking at you a small teasing smirk appearing on her lips.

-Oh...Yeah...I was hoping to talk to you, but...uh.

He says as his face gets red. He clearly hates the facts that Robin is here enjoying the little show while you are still oblivious to his advances.

-It can wait

-We can talk now if you want. We were done with our game anyway.

-I have to do something first, but you can meet me in the crow-nest in about 5 minutes?

He lies trying to give himself some time to think about what he's going to say. You nod agreeing with your usual smile that he loves so much.

-Alright then see ya

You watch him leave, curious about what he wants to speak with you. You shrug your shoulders ready to leave too, but Robin is looking at you with a small teasing smirk.

-What?

-Nothing~

She retorts sweetly before waving you off.

++++

The dark sky slowly sets over the head of the Strawhats as the delicious smell of the food fills everyone nostrils. You enter your room to put away your card and as you are about to leave, you take a moment to breath. You didn't notice how nervous you are until you felt your breath getting a little shaky.

Arrived at the location, you open the door and see him sat not too far from the window. He’s looking away but as he notices your presence, he invites you to sit besides him.

-The food smells good

You say breaking the silence. He nods and looks outside again. At around the same moment, an insect fly inside and run directly in your face, making you panic a little. Zoro is quick to catch it and throw it away, making sure you are fine at the same time.

-You’re okay?

-Yeah, it’s just a small insect, I'm good.

-Wait

He gets closer to you and clumsily fix your hair with the use of his fingers.

-Cool

He concludes with a small satisfied smile as he finishes placing your hair. You look up at him with a blush, eyes connecting with his. Zoro clears his throat as he leans back while you stare at your nervous fingers. Your heart is pounding in your chest as you stare now at your friend.

-So, what did you want to talk about?

You see him hesitate as he opens his mouth but close it quickly. His gaze shift from you to the view outside. He sighs and with a blush spread on his tanned cheeks, he finally speaks.

-I like you

Your eyes widen at his sudden confession, not expecting this at all. You furrow your eyebrows as your hand naturally covers your pounding heart.

-What??Since when!?

You ask completely confused. He chuckles a little astonished to your true shock to his confession. You really didn't notice his flirting tactics.

-I thought I made it obvious

-No?? How??

-Uh...with compliments.

-Zoro...

-I don't compliment anyone like the cook, I genuinely think you are pretty.

You gasp a little hiding your face in your hands, half of you not believing this is real and half of you realizing the cause of his strange behavior. You let your hands fall on your laps as you giggle.

-You're so bad at flirting

You joke to try to calm yourself down. Both of you start laughing as he admits it with a nod.

-You are so dense though

-Pfff, not at all

-You clearly can't take a hint

-Wha-

-Y/N SWANNNN, It's time to eat!

You are interrupted by Sanji's scream that startle you a little.

-Look like dinner is ready

Zoro concludes as he prepares himself to stand up, but you quickly grab his forearm pulling him down. You close the distance and give him a quick kiss on his cheek. He looks at you surprised, but he slowly start to smile.

-I like you too

[portraitofadyke]

what's been bugging me is how some people, especially steddyhands shippers, seem to ignore Stede's complete blind spot that is Ed. I've been rereading some post s1 fix-its, and it's amazing how almost every one of their reunions had Stede blaming Ed for marooning the crew and attempting to kill Lucius (same with ppl's expectation that there would be some sort of physical fight). And then he just. Doesn't.

Stede obviously cares for the crew. A lot. But the moment Ed's well being is in the picture, he becomes hyperfocused on Ed and Ed only. Obviously the crew told him about being marooned, but we don't see him mention that once in his letters. They reunite with Lucius, and yet all Stede talks about is Ed (and his poor portrayal on his wanted posters)- Lucius confesses about Ed throwing him overboard, and all Stede does is question 'why?', because he knows Ed wouldn't just randomly attempt to murder Lucius. The moment Lucius tells him Stede broke Ed, Stede is back to blaming himself, never Ed. He clearly cares about Lucius, because later in the ep, he tries to reconcile with him by giving him 'dating advice' and trying to save him from what happened to him and Ed, but Ed comes first.

We actually see it in s1 too, if only briefly, in s7 when Stede desperately tries to keep Ed abroad and becomes oblivious to the crew's concerns and problems and we get the iconic line "Eat and apple, for God's sake!" Stede cares, but Ed is at the front of his mind and it's hard for him to understand what could be more important.

In s02e03, he gets his ship and the rest of his crew back, but Ed is nowhere. Izzy is literally missing a leg and Stede just tells him to piss off.

And I've seen people questioning why Stede never questioned that, why he never bothered to ask about Izzy's missing toe or back scars or why he didn't care about the leg more. Izzy clearly lies again and tells Stede Ed shot it off because he told Ed he loves him, and yet stede just. Doesn't care.

And i mean, that question is valid. Because people see Stede as someone who's much more caring, more hero-coded. But Stede is far more a romantic hero to Ed than he is your general hero to the rest of the characters. Stede is selfish. Stede is blind-sided. Stede is willing to abandon his morals when it comes to Ed.

I think there are two reasons Stede doesn't question Izzy's Ed-inflicted-injuries, or any other, for that matter. First one is, Stede's blind spot for Ed. Yeah, Izzy got his leg shot off by Ed (not entirely true, but I digress), but there must have been a reason why. Yeah, Izzy got his toes cut off and hand-fed, but Ed had a reason. Stede knows Ed is not violent by default, so he knows something must have prompted him to do that. Is it completely justified? That's a differenr convo about people trying to portray Izzy as a victim rather than someone who kept pushing Ed over the edge until they were both too far.

The second is... Yeah, Stede just doesn't care. Especially about Izzy. Lie it's been pointed out, Stede just thinks izzy is a dick. He misnames him. He's rightuflly mad at him for selling them out to the english. He literally dreams about killing Izzy for that. Stede blames himself for abandoning Ed and everything that happened after (and yes, Ed's actions are Ed's actions, but that's how Stede sees it), but he clearly also blames Izzy for setting them up.

So, Stede sees Izzy's missing leg? Probably deserved that. Back scars, missing toe? Eh, probably deserved that, too, Ed would look absolutely lovely in a braid. Is that morally correct? No, but Stede isn't written to be a moral character. That's what makes him so real, and that's why so many other actors than Rhys would struggle making Stede sympathetic and likeable to the audiences.

That's not to say Stede doesn't see Ed's wrongs. He absolutely does. He just. Doesn't care that much in the end, because his love for all of Ed is that bright, to the point of being absolutely, utterly selfish. DJenkins said it from the beginning; this show is about Ed and Stede's relationship. Stede doesn't question Izzy's injuries bc in the end, it just doesn't matter to him when Ed is in the picture

[tumblingxelian]

How do some even think that RWBY has male characters “hijack the narrative?” It’s like they project what their grievances with past stories on what looks like the same but not really.

Like Jaundice in Volume 1 flies right by marathoning the season. No bigger than a single episode of TV at 20+ minutes.

So the answer to that questions ranges from what you said to several things like:

Not watching un years & misremembering what was watched, being misinformed & not having watched at all, lying and such. But, I think I hit on another major reason for this problem and its kind of hilariously twisted so please hear me out.

Every arc I've noticed that a certain strain of "Fans" get very attached to one or two male characters and start projecting the idea that they are the real MCs & then get offended when it turns out they aren't.

In V1 to 3, it was Jaune & Adam. Then in volumes 3 to 6 it was Qrow & then Ozpin, Followed by Ironwood in volumes 4 & 7.

All these guys are introduced either in a typical shounen hero or antagonist or mentor and ally role.

Then have the layers people back to show what exists beneath the archetype and what they either have to overcome to remain on the actual main characters side. IE, Jaune, Qrow & Ozpin.

Or what it is that they long since failed or will fail to overcome and grow from that makes them into villains, IE, Adam and Ironwood.

The reason this keeps happening is because that particular strain of "fan" has such a "Men as default" head-space that they cannot, genuinely cannot grasp that they are watching a story about women. Thus they keep expected ay given guy who shows up to be the "real" main character.

Aside:

You may also notice Ren, Oscar & Marrow never gets on the above list. The closest they get is being someone else's cheerleader or not mentioned at all. Meanwhile the white (Or perceived as white in Qrow's case) cis and overtly straight men do get said treatment. I wonder why that could be? Such a mystery :/

But I digress, this is important because it reflects a deep subconscious bias in those "fans" & I think said bias also exists in the people making claims like this.

IE, because they treat men as the default & the protagonists in a given scene, while subconsciously placing women below them and more as accessories, their focus on any given scene is always on the men.

Kind of like those tumblr posts that are explicitly about women & have a bunch of people with piss poor reading comprehension tagging it with dudes or even going so far as to say "Just say gay men". & rather similar to that observation that a lot of fandom treats men, any man from a piece of media, as an inherently deep and complicated character with so much to analyze or so much freedom to expand on. Meanwhile dismissing women out of hand as awful & or boring.

Thus, when they see a group conversation scene, they instinctively assume that the one leading the conversation, with the most to gain from the conversation, with the most narrative weight in the conversation is a man.

Even if he barely said anything and all the lot relevant, interesting character stuff and such was being done by women.

This head-space persists consistently and inflames any given scene, story beat or exchange.

But, here's the twist, these "critics" know o a conscious level that RWBY is about women and that, that is a selling point. But then they look back over their memories, subconsciously blurring out the women and think, "Wow, the girls didn't do anything, it was all about the guys!" Even though its actually just cos they refused to pay any attention to a character that wasn't a man.

Then they get mad because "Clearly the writers are doing this wrong" and ten they get madder when these men fail, or are villains or have to learn lessons, because in their eyes, those guys are the righteous protagonists, and super complicated, "Can't these blank slate girls realize that? Can't the writers!?" But again, its just because they weren't paying attention, rather tan it being a problem in the writing.

Its very similar to that trend of, "There was no queer foreshadowing, they were both obviously straight!" & then their evidence is like, she looked at a man once, & so therefore every interaction with women she has is platonic by default and therefore does not contain foreshadowing.

Damn, could have just led with that, its male bias, rather than straight bias, but the end result is the same. They don't perceive the women on the screen, they don't see the queer signals.

Then, when the story develops around those women, when queer characters & events set up across years happens it slaps them across the face & they insist it must have come out of nowhere.

Sadly, nothing you can say is liable to change their minds, because in a way, they really are watching an entirely different show.

It'd be like if I went into Naruto thinking Rock Lee was the main character & then never adjusted from that perspective.

Not an identical situation, but one that conveys my point regarding why they claim so much nonsense with such confidence.

[communistkenobi]

ok conclave thots (spoilers)

trying very hard to set aside my feelings on the Catholic Church to evaluate this movie. It’s quite beautiful, everything has a very solid physical presence, big wooden doors thunking, columns of stone and marble, thick robes, luxurious physical sets. Really enjoyed the cinematography. The cast was all really enjoyable aside from Stanley Tucci, not bc he’s a bad actor but I could not be sold on him being a cardinal. he seemed generally out of place. Although he was clearly there to be a bit ‘out of place’ as a figure for liberal Catholics, like definitely the type of guy who would think creating an anime girl avatar for the Catholic Church would be a good move to modernise the church. Actually maybe he was good in that movie I change my mind.

He did also demonstrate the complete failure of liberalism to respond to right wing rhetoric - all he says in response to Tedesco’s islamophobic rant about the need for religious intolerance is “you should be ashamed of yourself!”, just totally unable to address Tedesco’s fixation on conducting religious warfare. The film is centred around the church’s need to manage its public image, making multiple references to the recent international outcry over the church’s systemic sexual abuse problems, its homophobia & anti-abortion views that are increasingly falling out of favour, and the general trouble the church has with the press. There is a clear emerging clash between tradcaths and liberal Catholics that are fighting for dominance in the church. The film ultimately finds synthesis between these two poles in Benitez, a man who conducted missions in ‘war torn’ countries such as the Congo and Afghanistan (thus having a more genuine connection to religious intolerance than privileged, out of touch conservatives like Tedesco) but despite that still desires to promote unity and tolerance, and at the last hour is revealed to be an intersex man who was counselled by the pope to get a hysterectomy (and decided against it), as if literally embodying the tension between these two positions within the church. Not sure how I feel about that lol, intersex characters are so rare and he’s not treated as a punchline, they even do the “born this way” thing with it as like god made him intersex. so like props for that I guess.

overall a very goofy person’s idea of power and politics but it was a fun watch and I had a good time. Kinda soured on how ridiculous it is that Benitez would pull a super-majority from a single speech to Tedesco about him not knowing anything about “real war” and the need for unity - like idk I remember learning about Mehmet Ali Acğa’s assassination attempt of the pope and how virulently Islamophobic the response was from the public & media, the idea that there would be a “Muslim terrorist” bombing (they leave it vague in the movie but that’s clearly what’s being evoked) in Rome that damaged the building or church or wherever the cardinals were, and the cardinals didn't all immediately side with Tedesco is pretty mind boggling lmao. Again trying very hard to set aside my thoughts on history and religious politics and just have a fun time with this one, but it’s hard to distance those things when the history being dealt with is so recent.

Ralph Fiennes owns in this movie though, great job from him and just what I wanted out of a Ralph Fiennes character. I really liked this review of it on Letterboxd

[tyrantisterror]

I've seen Utena and Evangelion get compared to each other for both being 1. dark coming of age stories that get increasingly surreal as time goes on and 2. supposedly deconstructing their respective genres. And I think there's a good basis for comparison in there, definitely, and they've both become anime I've made a point to revisit because they struck a very strong chord with me.

I think what gets me when comparing them, though, is that Utena gets to do what Evangelion sets up but never managed to finish - and some people inexplicably criticize Utena for it?

Cause Evangelion was clearly meant to be a longer series. They establish early on that there are eight Evas and eight teenage pilots for them. In the series itself we see four - well, five, technically, since an angel posing as a human named Kaworu tricks everyone into letting him pilot an eva, but still. There three side character teenagers introduced early, one of which pilots an eva (to disastrous results) while the other two remain supporting cast. It's possible they were intended to eventually be eva pilots too, but it's also possible the mystery pilots might have been foreignors like Asuka.

Either way, it's clear the story was meant to become bigger, but because of various behind the scenes reasons it didn't - it ultimately remains focused primarily on Shinji, Gendo (the true antagonist), Asuka, Rei, and to a lesser extent, Misato. And don't get me wrong, that still makes for an incredibly engaging show - I wouldn't trade any of the episodes and scenes focused on those cast members for the world, the depth to which those characters are explored is a huge part of what makes the series meaningful for me.

But Utena, while being a similarly character-focused series, does get to expand its scope in the way Evangelion set up but never paid off. The cast of Utena does get larger, and while the focus remains primarily on Utena, Anthy, the true antagonist Dio, and to a lesser extent Touga and Nanami, it finds time to shine the spotlight on a very rich supporting cast of characters. The Black Rose arc in particular is great for this, because it gives the supporting cast members introduced in the first arc - Juri, Miki, Nanami, garbage boy Saionji, and Wakaba - their own arcs and, in many cases, their own relationships with characters outside of Utena and Anthy's direct orbit. The lives and relationships of all these characters become really rich and interesting, with their own quirks and problems to overcome.

And, like, I've seen some people say this is a flaw - that these are "filler" episodes, that you can skip the Black Rose arc entirely, and it's baffling to me. The way all of these characters interplay with each other, how their struggles and arcs mirror and complement each other, is what makes the world and story of Utena so rich. It's still about Utena and Anthy in the end, but Utena and Anthy's arc is also made so much more meaningful by how it reflects the arcs of everyone around them - that ultimately all these characters are sharing facets of the same struggle, and if there's hope for Utena and Anthy at the end (and there is, especially in the movie), then there's hope for all these characters and, indeed, everyone in the audience who sympathized with them.

One thing that'll plague my imagination till the end of my days is the concept of what Evangelion would be if it could have broadened its scope the way they originally planned, and the way Utena broadens the scope of its narrative only fuels that wonder more. I'd kill to see Evangelion's Black Rose arc, and I'm so glad Utena got to have its world grow.

[elsa-fogen]

hi ! i have a question, i was wondering something when it comes to your 'breakfast au'. ive read through a lot of this, and ive seen you and multiple other people state velvette "deserves" this? that just confused me in general, because out of all the people in the show, velvette probably has done the least amount of bad things. so how would she deserve this? i saw a few people saying its because of the love potion thing she collaborated with valentino on, but i dont really think thats a valid point. given it states in the wiki that its unconfirmed what that actually was. (ill send an image of where it says this.) it couldve been anything. and given velvettes line of work, (fashion, social media) id assume itd be some sort of perfume made to be taken orally. like perhaps a pheromone perfume which ive seen is commonly promoted by influencers, or just these types of people in general.

the next point i saw was somebody saying shes a narcissist? which, she really isnt. if you do any research on npd you could see that. velvette is shown to be confident, maybe even egotistical. she acts like a confident teenager would. she doesnt have npd.

ive seen people say she deserves this type of thing because shes friends with the vees..? which honestly would make no sense. so far in the show, shes shown to only really speak to vox. (which isnt bad, given vox hasnt exactly done anything big and bad like say alastor or valentino, or hell, even sir pentious' crimes.) everytime shes really talked about valentino, its been in a bad way. shes shown to not like him. so its not like those two are best friends or even anything more than business associates from what ive seen??

anywho, i was just a bit confused. i was also a bit confused on alastors behavior aswell. while yes, hes a horrible person, yes he eats people, YES he would do something like this; he has no reason to with velvette. he gains nothing from this. so whats the point of him doing it?? its not to spite vox, given alastor is shown in the show, not to give too fucks about vox 😭

I personally said that she deserved it only to spite that hater, i should've clarify that 😅

Alastor gets to mess with Vox and to make HIM suffer from screams (Valentino comes as a bonus). He GIVEs fucks about Vox tho, maybe not as much as the said TV man, but still. He spills the tea about Vox asking him to join the Vees, and does so clearly to humiliate him. The way he tells about it implies that. so he WOULD spite Vox if he had a chance that wouldn't take too much effort.

but still, Velvette isn't innocent. she's in hell and it has to be for a reason. she joined the Vees which indicates that she supports their activities. Velvette had no problem with Val killing her models except that it causes troubles to her show.

about Vox, he's also fucked up. And maybe he isn't killing people left ang right, he does many bad things, like hypnotizing people, stalkering and so on. He supports Valentino's attitude too. He knows what Val does to Angel and doesn't give a fuck.

Problem here is that you only count things shown on screen. While characters have life outside of it. And for now we've seen only Val being a horrible person. Bonus points that he's being mean to the chracter we know and love. Other Vees didn't get the time to show their fuckedupness. I know for a fact that in season 2 we'll get at least Vox' fucked up side. and, hopefully, Velvette's too, and people will finally stop thinking that they're poor little meow meows that ended up under bad Valentino's influence.

Also, as i was saying in the first post about this AU - Velvette really shouldn't have said that the can eat other overlords for breakfast (au namedrop!!!) in front if 2 real cannibals. They took that personal.

[cadejos]

MEASURING NANAMI'S CRITICAL HIT POWER

i'm going to take a few liberties here, and make some assumptions based on characters' dialogues. however, i'll still try to be as realistic as possible with this assessment.

it all starts with this panel from chapter 231.

nanami in the panel says quite plainly that the critical hits he works hard to pull off are equal to gojo's average, no-effort punches. we can make the reasonable guess that gojo's "average punch" are his punches that are enhanced with blue. why? because those are the punches kusakabe talks about.

these are also the punches gojo himself brings up in chapter 256, as for why it's less likely (less necessary) for him to perform black flashes.

hese punches are intense enough that they make heavy hitters like hakari and yuuta nauseus. they're clearly not happy to have been on the receiving end.

... so we can draw the conclusion that if nanami were to do a critical hit with his full strength, the same effect would be achieved.

the problem now is clarifying what nanami means by a "critical hit". in chapter 20 of the manga when he is describing his technique, critical hit is exactly the term he uses, so we could assume that he means his base power with his CT in chapter 231. right? but i don't think its that simple.

i think there's levels to the critical hits, and not all of them are made equal. in order to meet the criteria for "full power critical hit", nanami needs to do a certain number of things. it can't just be his average jab, since he says that he needs to put great effort to match the likes of gojo's baseline strength.

one of those things may be "revealing his hand", a binding vow which increases the effectiveness of a technique in exchange for letting the enemy know what's up, and it's something he uses in that very chapter. (casually, it uses gojo as an example too)

nanami reveals his hand mainly for yuuji's benefit (and for us as readers), we don't know if he really needed it for this curse. after all, he still only hit it with the blunt side, implying that he can regulate the level of his blows through the use of his tool vs other things, like his fists (which may be more powerful, perhaps because the cursed energy does not have to flow into his cleaver)

average hits may be enough for weak curses, but stronger opponents require stronger measures. in his fight with mahito, he both reveals his hand and employs his overtime binding vow. even nanami's average punches merely represent 80% of his baseline capacity, making analysis a little blurry.

this is also the chapter that introduces us to ratio technique: collapse, an expansion of nnmi's 7:3 technique. it's enough to pulverize everything in a specific area, and it feels like a "minor earthquake" even from a distance.

nanami's technique is all about buffs and debuffs, both inherent and self imposed. the fact that he engages successfully in so many battles with curses at only 80% of his CE capacity is something that is quite noteworthy and oftentimes overlooked. i doubt that collapse would be as powerful at 80%, but that's why he only uses it after overtime is in place. it probably would still be pretty formidable with 100% capacity.

we are not even taking black flashes into account, an area where nanami excels. a critical hit buff stacked on top of a critical hit that is already buffed? that sounds borderline excessive. but that's something that nanami has been shown to be capable of.

so, all of this to come to the conclusion that the upper range of nanami's punches, given the proper conditions, are homologous with gojo's middle range blue enhanced punches. all of this is not to talk down on gojo's punches, but quite the opposite.

nanami needs to be precise in order to hit the weak spot his technique has forcibly created. gojo doesn't have that limitation. while nanami needs to actively think and measure his blows, gojo barely has to think, as it comes like second nature through the use of his six eyes.

still, the fact that level of power is even reachable for him is not insignificant.

[accioepiphany]

I've come to peace with the way I feel about season 3. And I think it's still glorious at times and if you take each episode by itself, quite great. But as a whole, and as a series that needs to follow a group of characters it does gets lost and erases some of the characters' traits and progress that we had already seen, which by the end produces an accumulation of disappointment that is hard to rub off.

I do think its main issues could be summarized in three of the non-negotiables Carmy kept breaking throughout the season:

Focus

Carmy clearly gets out of the walk-in with the goal in mind to fix all his wrongs and he thinks the way to do that is by hyper focusing on his wrongdoings. Somehow, if he is aware of his mistakes he will be able to be one step ahead of them. Or at least that is what he thinks… you have him asking Ebra if he is fucking up, he takes Syd’s notes on a dish he creates as if it is his mistake that he didn't think of it better. But that's where he is wrong. This is not about him. And Syd calls him out on it in episode two, when she tells him that he is making it again about himself. He is so focused on himself that he fails to see everyone else's suggestions and attempts at collaborating with him. He is unfocused on the team…

And so is the show. It lacks so much focus on where the characters should go, it's part of why it feels so aimless. It's trying to do ten things at the same time and none truly. It´s trying to make Claire happen while never really giving it space and actual scenes. Just a bunch of flashbacks. It wants to take us into Carmy's brain without being too certain of what's in there, hyper focusing on his trauma and forgetting the Carmy we met on season 1 who was an asshole, but one that cared. So the focus is not on the people, which is so ironic with having Chef Terry say people forget the food but not the people they had it with.

Which brings me to the second point:

Vibrant Collaboration

Carmy’s non-negotiables have trapped him in a prison of his own that has closed up any attempt anyone might have of actually collaborating with him. So his vibrant collaboration is actually him imposing his ideas on everyone and maybe letting them work over them. Which is why we don't see many of the scenes we had in season 2 of him brainstorming with Syd. Just him being stubborn.

And the show also lacks a proper integration of its characters. Giving way too many screen time to the Faks, the people less integrated to the kitchen. Failing to incorporate Tina's and Marcus' ideas, which they are so enthusiastically developing, but never even get the chance to share. except for sparse acknowledgements by Syd, Nat and each other, that doesn't really take them anywhere. We get beautiful conversations among some characters that lead to nowhere, no consequence, and just because of that, makes them feel repetitive and a waste of time...

Every Second Counts

Which leads me to one of the prime phrases of The Bear, one with so many layers, that is what made it such a protagonist last season and what made Forks so poignant. It's the embodiment of being in the present, and not wasting time, because every second it's precious, which is why if you are not living it, consciously, to its fullest, then what are you doing?

And Carmy is so trapped in his past, thinking this is what will make him not waste time, that it ends up being the opposite, because he cannot just be in the moment and enjoy what he currently has at all.

Sadly, this season has a similar problem and has too many flashbacks and side-plots that drag and just doesn't move forward and kind of waste the very valuable seconds each episode has.

I still love this show and its characters, and I still truly believe it can pivot in season 4, specially if the creators were trying to set the ground with season 3 for maybe more action in season 4. But, I think it's also important to point out when it doesn't go well, as everyone did this season with Carmy, trying to tell him his non-negotiables where ruining everything. I just hope, different from Carmy, the creators of The Bear can listen and change.

[ganondoodle]

okay, bc i have seen this argument alot now (and it also seems to be the view point of aonuma himself..) is that "zelda cant do everything link does bc whats the point then"

and i take personal offense on that bc its a stupid argument (in. my. very. personal. opinion.- not judging people for liking it. its a ME thing)

whats the point? its that its her. its still a different character, different in story, background, personality, but i WANT to play zelda and she can do everything link does, why does she have to be so restricted and be bend over backwards to find some new way to make her 'useful' when link gets to do basically everything no questions asked (the only thing thats hers is like .. sealing power and sacrificial maiden, which i find a little underwhelming to say the least), if theres no point to it why are there always modders that model swap link with someone else, and in that case it has even less impact bc its an artificial model swap with no changes to the story (which can and should still be different when its the vanilla game with a different protagonist... its still a different character), clearly theres joy in just the model being a different one- and that isnt even to mention the story possibilities, since, again, its stil a different character

if we ever (never ... i know who we are talking about here) get to play as ganondorf i want to him to be just as versatile and active as link is, if we got a point and click adventure game for him instead bc 'whats the point' id be disappointed too- you can find any sort of excuse/explanation for zelda to be singled out but the fact remains it tracks with how female characters are often treated, and that hits a very sore spot for me

i guess i am unfortunately one of those annoying people that want to see female characters be treated exactly the same as male characters, possibly bc i am myself afab but identify as agender and have a deeply personal dislike for anything 'traditional' feminine bc i cannot and never will be able to truly live as myself in real life, it influences all of my work, my work is as just as much as my opinion on this, very personal

and in line with my point about modding, i see theres joy in just beign able to play as her even if its like this, i get that, i also get it for the creative aspect (though that mechanic worries me even more for the future bc it really seems to be the path now that -freedom = good, linear anything = bad-) it is a different idea and its not like i cant see that value- im not trying be "right" either, just bc i have that opinion doesnt mean i need everyone to agree, its a very personal thing, if you like it good for you! not for me though, and i think both of that is equally valid

i just personally wish she was allowed to be just like link, fight just like him but be different bc its still her and not him in the end- to be physically/playstyle like jsut like him, but you know ... as her, i dont think shed stop being zelda if she could wield a sword just like him

i dont really know how to get my point/feelings across, i dont want to step too much into personal stuff nor spam people with something that ultimately doesnt interest me alot, im just saddened by it really

(EDIT: bc i forgot to add this on here again; this isnt as much of a problem as it might sound like here, just the main topic i wanted to talk about; why im so uninterested in it is MAINLY bc i dont trust them to write anything interesting/care about lore anymore after totk, im always on the more pessimistic side that thinks its most likely worse than id hope and i know even the past games arent perfect or super interestingly written, but now its much more just a general distrust, together with everything like the price ... im just much less hopeful and cant get excited until i see more of it, like im waiting for the game to get out and reveal that its just as much of a mess and money i regret spending- kind of fear)

[clonerightsagenda]

For now I think I'm going to use #crude monsters as my catchall tag because I respect a clever title. I'll try to backtag stuff but given tumblr's search function I'm going to pile all my current thoughts in one place so this one at least will be tagged.

Thesis

I've observed a theme in SFF works from the last decade connecting the undead/death magic with fossil fuels/climate change in a way that makes even more literal our contemporary society being powered by dead things (fossil fuels) and positions climate change/pollution as a 'haunting' we've brought upon ourselves. The specter of communism may have been haunting Europe, but the specter of petrochemicals now stalks the globe, and it's getting hot (or cold) in here.

Examples I have collected so far:

The Locked Tomb by Tamsyn Muir

This is the most blatant. House society runs on death even more visibly than our own. It was created by a man working to save the planet, but even his original project betrays a belief that humans can't possibly escape their extractive relationship with Earth - it relied on freezing the entire population until the Earth could recover, instead of changing anyone's behavior. John wipes out our society, but he ends up recreating a lot of its harmful structures, including a reliance on extraction and death. The Houses rely on labor performed by skeletal servitors (more akin to the original zombie-as-enslaved-labor than the modern ravenous swarm). They use material goods primarily made of plastic or human bone/tissue. The Empire expands by killing entire planetary ecosystems and harvesting the death energy, spawning vengeful hauntings that target necromancers (people born from and benefiting from this extractive process) and Lyctors (necromancers who have gone even further to make continual death and extraction core to their identity). John, the leader of the empire, is powered by the death of Earth, and that's what's literally keeping the lights on - when he's briefly killed, the sun starts to go out. Society's view of human life as fuel trickles down to the interpersonal level as well, with many characters blurring devotion and consumption, taking it as a personal rejection when someone refuses to eat them, or deciding that the kindest alternative to the societal status quo is mutual self-immolation (nuclear fusion?).

Beyond the resurrection beasts serving as the vengeance of slaughtered ecosystems, we also see the aftereffects of this regime in the River, which is filthy and polluted. The Cuyahoga River catching fire became a key symbol and tipping point in the environmental movement in the late 60s/70s, and here we have a river that's been befouled by however John broke the world.

Lockwood & Co by Jonathan Stroud

In this series, Britain is plagued by something no one wants to name. It's not haunting, it's a Problem. They're not ghosts, they're Visitors. The dead don't have names, they get nicknames like natural disasters. But at the root is a group of wealthy industrialists who are exacerbating a crisis and profiting off of it at the same time. Business leaders are invading the afterlife to extract a product literally made out of dead people, which stirs up the dead and heightens the Problem. Then they turn around and make money off it by selling key supplies and services (silver, iron, agents, etc.) The reliance on children's Talents is reminiscent of climate change rhetoric around young people. Polls suggest young people are the most aware and concerned about climate change (after all, like with Visitors, they can see and feel it most clearly). Many adults in Turbohaunted Britain are willfully ignorant of the situation, brush off their own responsibility, and talk about how "the children will save us", cheerfully dropping the problem into the laps of a generation that did not cause it but will inherit its worst effects. Of course it's not just children who suffer - the process of invading the Other Side is actively killing the people doing it as well, and yet they still won't stop, driven by extractive greed.

This extraction is also displacing a large population. The dead entering living Britain are victims, but they're dehumanized by the real wrongdoers who need an easy scapegoat and the money they can make off one. The later books in this series were published around the height of the European refugee "crisis", when Europe saw high numbers of migrants from Middle Eastern and North African nations experiencing instability that Western oil interests contributed to. Rather than recognizing their responsibility and welcoming these people, Europe as a whole mostly rejected and vilified them, and nations across the globe continue to latch onto cases where migrants do hurt someone as evidence that they're all dangerous monsters, using them as a smokescreen to deflect attention from the rich corporate architects of our collective misery.

The Scholomance by Naomi Novik

This is my third example, and I might be stretching the undead thing a bit, but not too much imo. In the Scholomance series, privileged magic users, primarily in Western and wealthy nations, live in extravagant protected enclaves, leaving everyone else at the mercy of dangerous monsters. It's eventually revealed that enclaves are literally built on the backs of human sacrifices, which spawn a tar pit-like monster (mawmouth) that roams around devouring people - mostly those unlucky individuals who don't get through the enclave gates, meaning the people who benefit are also the least impacted, just as we've seen with warming and climate disasters. Their comfort comes at a direct cost to everyone else. Mawmouths are made out of that original sacrifice but accumulate their screaming, perpetually dying victims, and El is eventually able to defeat them by reminding them that they're "already dead", so I'd say they're at least undead-adjacent.

When a Chinese wizard learns the secret of enclave construction, he confronts the Western enclaves, who refuse to stop. So, his faction feels they have no choice but to build their own enclaves, even if that makes the problem worse. It's reminiscent of how the West scolds "developing" nations for increasing their population and emissions despite having enjoyed the fruits of living large, carbon consumption-wise, for decades. ("We had our fun, now we're going to wag our fingers at anyone who doesn't want to sign emissions treaties. We're not following them though.") The New York enclave makes a more ~ethical~ mawmouth (Orion = greenwashing??) but mostly so they can weaponize it against anyone who argues with them. Orion being created as part of this arms race and El being born to 'balance' him out again hearkens to the idea that the children will somehow save us, and also revisits that children are the most impacted by our warming future, stuck cleaning up earlier generations' messes.

Hi Nay by Motzie Dapul

This connection was made during a Discord conversation and not by me, so I really need to relisten to the podcast with this framing in mind. A group of mostly wealthy Elders gain magical power through sowing the Toronto landscapes with Foci that harvest energy from death. The ones that bother with justifications say it's for the greater good and the deaths at least are random chance, but in reality the Elders are safe and their Foci impact the unprotected, just as we pretend natural disasters and pandemics are great equalizers when really they and other climate-induced destruction hit frontline populations hardest. Just like the wealthy in our world, they're profiting off of people's deaths and looking the other way as man-made disasters caused by their actions destroy people.

Additionally, the use of death magic at scale destabilizes the barrier between the worlds of the living and the dead, and locations where a Focus has activated in the past are more likely to experience problems again. Essentially it's a feedback loop, the way we see exponential warming and increased disasters as different 'symptoms' of climate change feed off each other. Foci creating corrupt, repulsive "miasmas" that distort the world around them is also reminiscent of ecological damage and pollution.

The showrunner has indicated future episodes might tackle this theme more directly, so I'm excited about that!

Limitations

Of these four works, three were written by white authors living in what I would categorize as an extracting area of the world rather than an extraction zone. All four works are at least primarily in English for an English-speaking audience. This does not reflect the frontline communities most vulnerable to the current ravages of climate change, and I would not be surprised if this theme has arisen in works I have not found, either because they did not make it through mainstream publishing's gatekeeping or because I do not speak the language.

That being said, hauntings often have their logic. There's unfinished business, someone (something?) wants revenge, people crossed lines they shouldn't have. So perhaps this theme popping up in extractive countries is an acknowledgement of that culpability, admitting that we dug up these angry dead, and now we don't know how to put them back to rest. Shame the rest of the world is paying for our trespass.

I'll continue to keep an eye out for more examples of this theme; feel free to let me know if you spot one!