#DO I HAVE ANY OTHER INTERESTS??????????

[antimnemonic]

i need to watch some other horror movies

[forgettable-au]

But that's dessert!

I FINALLY FINISHED THIS THING LET'S GOOO

I hope u all like it

[ariadne-mouse]

I feel fandom would get along a lot better if there was mutual understanding that liking a character, agreeing with a character, and thinking the character is well constructed/executed are all separate (if often overlapping) positions, each with their separate tastes and subjectivities. Also: character portrayals are intended to make the audience feel things; this is separate from (if often overlapping with) analyzing/appreciating their actions and role in the story.

[swagglessmoth]

My grades are suffering and so are they

[i-lovewing-dovewing]

dove doodle

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[inkyrainstorms]

Milestones

@aroace-get-out-of-my-face I sincerely and honestly wish you a very get exploded.

[naturallydark]

This weekend, I was morphed! Transformed! into the great wizard Magnificus at the KCC! After I cosplayed Leshy last year, I knew I had to cosplay my favourite Scrybe next. It was super fun getting to meet with other Inscryption cosplayers and roam around together as a little indie game posse :3 Bonus pics below the cut!

"I must...still...shake your hand..."

do u have games on ur xbob

[goodsmellerart]

the great and powerful blue magic horse 🪄✨

[turtleblogatlast]

Something I really like is that April’s constant stream of odd jobs she goes through is somewhat reflected in the boys as well. Like, you have April working at random pizza places or getting a crane license or being fully willing to apply for a job at a place clearly made out of cardboard. Then you have the boys as well who do anything from working as a basketball mascot, building a massive dog park, being waiters, getting a whole band gig at a theme park, etc, etc-

Main difference is that April actively applies for these jobs (and is hopefully paid for the short time she’s in them) whereas for the bros the jobs usually find them (and they practically never get paid.) It doesn’t even stop at jobs either, they just seem to casually amass skills in general.

I don’t know, I like how both April and the turtles are just so ready and willing to do things. Sure, they’re not always good at these things, but they do them readily! In a way, being heroes is just another job (well, more like volunteer work/vigilantism/another fun activity) that they initially took on because of their general sense of “why not?”

They’re very willing and open to trying out new things despite their tendency to revert back to what they enjoy (and how commonly trying new things ends up going wrong), and I think that adaptational interest of theirs really helps them be well rounded in multiple regards.

[scruncheduppaper]

seeing ppl on twitter’s takes about snowgrave kriselle makes me want to kill myself oh my godddd “its toxic” “regular kriselle better bc its healthier” DO YOU THINK I WANT TO SEE THEM MUSHY KISS AND BE LOVEY DOVEY AND HUG EACH OTHER??? NO!!! the APPEAL is that adding romantic connotations to their snowgrave relationship (which mind you very much already exists in canon) allow their relationship to become so much more interesting. do i think they’ll become truly endgame canon? do i think they’re in love with each other??? ABSOLUTELY NOT!!! AND I DONT WANT THEM TO!!! the POINT is that it’s supposed to be dark and interesting and exploratory of their characters in relation to the deconstruction of autonomy in video games through gender roles and principles of knighthood and the idea of the “damsel in distress”. not to mention that “shipping” regular kriselle and snowgrave kriselle isnt mutually exclusive either. in fact i think understanding both allows you to analyse their relationship much more fully and deeply than without considering the other side. and besides, isnt the fucking point of shipping to explore character relationships??? why would you want to Ignore nuance and depth rather than focus on it???? are you unable to handle anything deeper or darker than like fucking cocomelon??? if you hate character analysis and dark themes in relationships you can head on back there or smth idfk oh my lord i cant fucking TAKE IT ANYMORE

[bumblingbabooshka]

Amanda's line in TOS about how the Vulcan way of life is better than the Human one and the fact that she consented to raising Spock as entirely Vulcan hints towards a very strange and interesting woman that I wish would be portrayed/explored instead of the way I normally see her in adaptations which is...Slightly Sad Perfect Mother Figure. Good Woman. Good Emotions Woman to balance out Sarek. Like, to me, these things (the line and how Spock was raised to be ashamed of his Humanity) paint the picture of Amanda going up to Sarek and being like...in the midst of all these Humans he interacts with daily, so singular and interesting because of her outpouring of appreciation for the Vulcan way of life. And maybe Sarek and her speak about it and he finds himself fascinated by this woman and that mix of mutual interest becomes affection becomes love. And then these two freaks put their heads together at a certain point down the road of their marriage and Sarek says y'know Amanda it's SO cool what we're doing here but I think you've pretty much got this Vulcan thing as down as you're going to. You're a marvel and you leave me in awe every day, with the way you were raised entirely Human I don't think anyone else has achieved what you have. But you know what'd be so fucking sick? Let's see if we can raise a child that's half you and half me, a symbol of our bond and our hopes for the future of mankind (that they conquer their emotions and follow a logical path). Let's see how THAT kid handles it. It's fine to have kids that're half science experiment half symbol of the future, right? That won't fuck them up? And Amanda says YEEESSS I'd fucking LOVE to do that with you Sarek. I love you so much. And you know, Amanda is a rather enigmatic character. Why she does what she does, what she wants, how she feels about Spock and Vulcans - they're largely up to interpretation since the episode she appears in becomes very high stress very quickly and people don't always act in line with how they normally do when under that kind of life-or-death pressure BUT what I think is a point of tragedy in Spock and Amanda's relationship isn't that Spock couldn't be Human enough but that these two people couldn't bond about having emotions yet following the Vulcan path. They both view the Vulcan path as being difficult but worth it to follow. It's the path they both chose for themselves, ultimately. Imagine how much sooner Spock may have been able to accept himself wholly if he'd felt able to confide in his mother about a feeling she probably would have understood completely in a way Sarek couldn't - being Human yet alien yet Vulcan. Amanda chose to live with Sarek on Vulcan. Did she feel at home with Humans? Does she feel at home with Vulcans? Or does she exist in the same liminal space her son does? Not Human enough, not Vulcan enough. It's so interesting that Amanda Grayson is a Human being, a Human woman (which would've been especially noteworthy in the TOS' gender politics era) who can be interpreted as having in essence consciously forsaken her Humanity and encouraged her son to do the same. To what end? Was that for love or was it something she'd done before meeting Sarek? Was it lonely? When Spock allows himself to smile very slightly at something, does he look in the mirror and remember his mother's face? Maybe he does and maybe at first he's ashamed. But then he's an old man and it only brings him peace, a tether to a woman he could never really connect to in life.

[nattikay]

the constant inner struggle of a Na'vi speaker/teacher browsing Na'vi OCs

[swordscleric]

I'm only halfway through the second phase of Predathos (which, to be clear is an incredible vibe for a bossfight, love a good head & hands/multitarget-same-entity boss) but I cannot shake the feeling of disappointment and just dissatisfaction I have had with this campaign that definitely started with Dusk/Yu, got followed up handily with the first Delilah/Sun Tree fight and then has been unfortunately reinforced with every discussion surrounding the Prime Deities since Hearthdell. This campaign is fascinating to pick apart, I have been really enjoying pulling apart why it isn't working compared to C1 or C2. But as much as I'm having fun dissecting where the worldbuilding has led to the current weaknesses in the gods' argument or reading other people's incisive commentary on the lack of personalities on the Ruby Vanguard's end, the "girlfailure" nonsense, etc etc, man do I wish this campaign was better than it is.

There are so many avenues of improvement -

Matt telling everyone to prep and write characters for this campaign instead of a C2-esque character-focused campaign.

Matt working religious organisations into the world properly.

The cast engaging with Marquet as a genuine location rather than set-dressing.

Otohan, Ozo and the rest of the Vanguard having more than "*insert snappy line here*" for their personalities.

No Delilah.

Bell's Hells having an iota of curiosity for anything outside of their own selves, including but not limited to: the gods, religious worship, the Elemental Titans and why they were sundered, how the people of Exandria feel about the gods, Vasselheim and its role in suppressing information about Predathos, Ludinus Da'Leth's plan and how it would still break the world if they did it in his place

I don't know why all of this fell into place in the way that it did, but it did. We can endlessly speculate why - the cast resting on their laurels after C2, not having enough time between the animated shows and Daggerheart and Candela Obscura and, and, and - but at the end of the day I really do hope that whatever form the final campaign wrap-up takes, they burn the damn questions asking the cast "what if the world was made of pudding and this character and this character kissed?" and instead pick questions that get them to introspect for a potential Campaign 4. Otherwise I don't know what will happen, but it sure as hell won't be Mighty Nein part 2: Issylra Boogaloo.

[mollysunder]

The Medarda arc of s2 struggled to be good, because the plot viciously smothered it. You can argue that Arcane was never about politics but you cannot say the Medardas were never explicitly a family defined by politics. So when the show shifted it's priorities from a drama steeped in political conflict where even though the setting was fantastical the stakes were grounded to a shift where magic is the end all be all threat to humanity, the Medardas are rendered largely irrelevant.

In s2 Mel's agency over her own story is both largely stripped from her and poorly communicated. Arcane has Mel abducted from the plot to be the Black Rose's captive. Even when Mel manages to free herself it's not through the traits the audience understands are her strengths, her cunning and social intelligence, it's through an innate instinct that natural to her and indecipherable to the audience.

Ambessa as a character is more or less a villain of convenience, which would be fine if she wasn't immediately following Silco's act. Once Mel is removed from the story Ambessa is largely disconnected from any emotional tension fuels conflict between the characters and previously drove the plot in s1. She's there to play the worse bad guy for Caitlyn and then give Viktor the man power for the Glorious Evolution.

It's frustrating to see the Medardas used the way they are in s2 because when they're together I can see how it could be good. When they're together Mel forces emotion out of Ambessa. In Act 1, Ambessa proved she could do circles around Piltover's court, which could actually put Mel in a tight spot.

Their final scene on paper sounds like a good idea where the true resolution to Mel and Ambessa's story was that Ambessa saw Mel's own ruthless behavior as she not only betrayed Ambessa to the Black Rose, but used her as BAIT to double cross LeBlanc. Ambessa died proud that her daughter killed her the way she did, and that's so cool and tragic, but the execution was a flop.

One, their final fight is completely unimportant to the actual Glorious Evolution, Mel's grief can't even be a highlight because it's interrupted by Viktor's mind trap. Two, their fight didn't rely on any of Mel's actual strengths, just magic and the poorly explained MacGuffin LeBlanc gave her. How did Mel even know it would do that?

It's like the writers had the bones for a great story for the Medardas, but then they're like the world's worst archeologists and fit those bones together in the worst way possible because they were convinced the bones made a stegasaurus instead of a T-rex or something.

[ketchup-chup]

What if I made a post about how Reborn is actually super observant and a really great communicator? What if I made a post about how Reborn's closed off nature and attitude is a deliberate choice on his part and not because he's emotionally stunted or unable to communicate his feelings? What if I said he's incredible at reading people, and providing guidance to his students and to the others outside of his "spartan training" or being a strict tutor? What if I said he's very capable of being a comforting and kind person (look at how he treats Yuni at anytime or the girls, especially during the future arc), and if he doesn't act this way it's for a reason (either because he doesn't want to comfort them (lambo) or it wouldn't be beneficial to their growth to coddle them (Tsuna)) What if I made a post about how Reborn isn't as simpleminded or one note as people write him?