#I mean not really spoilers but whatever

[majorbullmoose]

Remember when we all found out that “Ken” is French slang for fucking and the movie slogan translated to “he just knows how to fuck”?

The song Ryan Gosling sings is “I’m just Ken”. Is this still about fucking if you translate it to French? And if it is, can there please be a French cover of the song?

[egophiliac]

IT WAS ERIC AFTER ALL!!!! I'm so glad we got to meet him (before Vil snaps him away with those Infinity Gauntlets) (can't wait to see what happens when we get the matching Infinity Tiara to go with them, there will be no survivors)

(sorry to be so slow/rough lately, just got a lot of stuff on the ol' brain at the moment! alas, if only I could spend all my time drawing incredibly stupid characters I mean I do but)

[seefasters]

diversity win: the time traveling alien is bisexual!

[fudgecake-charlie]

I support martyn’s rights as well as his wrongs <3

[buggachat]

i feel like i should probably say things about the movie but honestly my take is really just "huh. interesting animated fanfic! anyway,"

[vigilskeep]

i’m very baffled by the logistics of how lucanis’ early act 2 companion quest bloodbath ended. he was unconscious, right? and we’ve all just been fighting waist deep in blood? did we carry him back to the cantori diamond eluvian through the streets covered in that much blood. because i have to believe you’re not getting an unconscious man across those ziplines. did anyone say anything or do people in treviso just live like this. was everyone at the diamond just like yeah another working day at crow hq nothing to see here

[kingjasnah]

opinions on Shallan canonically being a fujoshi

her hairpin turnaround from "um adolin's brother is kinda weird he creeps me out" to "if renarin doesnt kiss another man on the mouth right now im going to blow up the entire spiritual realm" is legendary and should have been expected

[seance]

ISRAEL HANDS and STEDE BONNET in OUR FLAG MEANS DEATH S02E05

[feelo-fick]

miscellaneous au doodles + a VERY self indulgent song lyric comic :D

+ extra evil comic below the cut :

"chil!" "don't look at me like that..."

[skrunksthatwunk]

thinking about how eiji's a pole vaulter and how ash talks about eiji "flying" and how eiji's associated with bird imagery and how eiji's free (unlike ash) and how eiji comes in on a plane and leaves on a plane and how ash cannot fly, ash cannot be free, how nyc is ash's prison, and how ash is the leopard who dies climbing the mountain, unable to live at such elevation, how he was trying to reach the sky and be free but was always stuck to the earth, how he chose to die instead of climbing back down, how he chose to die where he could see the sky and hope and freedom almost like a bird with eiji's letter right in front of him rather than letting everything go wrong and ruin it once again, how eiji's a failed pole vaulter anyway, how a bad fall ruined his career and grounded him (physically and emotionally), how it took flying to america and meeting ash and needing to save him and skip for him to try flying again, how he landed hard and harsh and still the thought of that escape compelled ash to protect eiji at all costs because if he could fly that means something to him, even if he doesn't think he can fly, how eiji is the manifestation of his hope and how when he breaks and asks eiji to stay with him a while he folds himself over his legs and weighs him down and traps him and grounds him, how ash fights like hell to keep eiji alive not because he thinks he can be like him (hopeful, flying, innocent), but because he makes him forget the gravity of his situation, and so he can see eiji fly again. how he wants to see him escape. how eiji is a bird and ash is a wildcat and how ash never once saw eiji as prey. how eiji never saw ash as a predator. how it is eiji's naivete that first endears ash to him, how it is his freedom and flight and removal from darkness and his ability to leave that darkness that really roots eiji in ash's blood as something essential to him keeping on living in this hell of nyc. how it is that distance from the violence and that hope for the future that ash chooses to surround himself in as he dies. how ash dies in a dream because he feels more than anything that he can't fly like eiji, that he can never leave. how his violence is a part of him and will be forever, how it weighs him down. how he wants to enjoy the view from the mountainside rather than looking up from the ground below. as if they can both fly. as if he is with him up there and not grounded. eye-to-eye with what he can't have, seeing eiji's homeland: the sky. how he dies trying to reach the top because he couldn't take retreating and trying again. how ash, tired and tired and tired and convinced it will go on forever if he crawls back down the mountain, chooses to close his life deluged in eiji, in eiji's insistence that they can fly together, in eiji's hope for him and for them, in eiji's beautiful dream. how ash dies without trying to realize that dream. how ash, in dying, destroys it.

[utilitycaster]

feel free to ignore if you feel like it's too theoretical/parasocial/etc. but: I see how the campaign as a whole is off because of how lack of prep influenced the cast to create somewhat unfit characters, but as someone who got immensely annoyed by this episode, I'm wondering why has that throughline carried out for so long. why haven't the cast decided to start playing their characters in a way that leads to a more cohesive and satisfying story? is the hesitation and bizzare opinions on gods a very dedicated RP choice or do you think the players themselves are also at a loss? I'm honestly very confused about that, given how driven and decisive they played VM and M9 during their oneshots. I don't want to feel like I'm singling anyone out to hate but e.g. the way taliesin plays caduceus vs ashton is particularly puzzling to me.

Hey anon,

This is all highly speculative (as, to be fair, was the original idea the cast was given very little information, and that turned out to be right) but I think it's the far-reaching consequences of that initial lack of prep combined with the fact that it's been a very central-plot focused campaign that failed to allow the characters to develop into more decisive people. It also, I think, centers the Ruidusborn such that I suspect a lot of the rest of the table is taking their lead.

The Mighty Nein, we know, involved a lot of prep with Matt specifically offering feedback and vetoing certain aspects. Every character came in with pretty clear goals, and because it was a character-driven campaign we got to see those goals change as they learned more: Caleb and Fjord notably abandon their original goals in favor of new ones. Veth and Caduceus achieve theirs; Jester as well, and she develops new ones as she becomes less sheltered. Beau and Yasha's exact goals were much more nebulous, but they have the opportunity to confront their pasts at length and find new purpose and peace throughout the narrative. I don't think it's productive to rehash everything every time but: lack of pre-existing long-term relationships and more work on the short-term friendships that existed, the fact that Beau and usually Molly due to Yasha's absences (and later Caduceus) were free agents who didn't know anyone prior to their meeting, and the fact that the party had like 2 gold to their name and had to double up in odd configurations plus their willingness to engage in conflicts led to a fairly quick and deep bond, which also influenced their goals and dynamics.

Vox Machina were initially very generally sketched out characters, but after they began doing more there was a similar effort put into to backstories, and I think going back after they'd already played a bit meant they knew more about who they wanted these characters to be. The pre-stream plot, as we can tell from the origins comics, was also heavily backstory focused; the Briarwoods arc is when most people feel the streamed campaign really takes off.

We have seen the backstories of the characters of Bells Hells, but a lot of them are deeply tied into a long-running main plot that doesn't really allow for the same development over time. Like, Percy, for example, actually does his "plot" about quarter of the way into the campaign; but this kickstarts his development. Fjord is rather similar; he learns the source of his powers quite early on, but grapples with them until the halfway point and then the rest of the campaign is him embracing something new. To compare, I suspect Laura envisoned Imogen's story as being not dissimilar in the sense of "learn what my powers come from, find a way to better control or perhaps get rid of them" and so upon finding out this is the lynchpin of the entire plot, Imogen never has that post-resolution time to cook, essentially. Even for those who had slightly more rewarding plot beats they kind of felt like "let's address this problem so we can get back to the moon stuff" (Chetney, Laudna) and in some cases, I think it felt to the players, rightly or wrongly, like those plots were actively rushed to the point that they couldn't explore them (I suspect this happened for Ashton during the solstice split). There's been a hurry-up-and-wait sense of urgency over the whole campaign because it's a plot that was introduced very early and has never let up. There's been no "what do we do" type breaks and I'd be shocked if there are. We've sort of run out of plot because we've speed run everything that would have been a plot in a different campaign.

So I think the players don't know how to evolve their characters because there's been no in-world impetus to evolve, really. Now, as someone who prefers to play people who are already decisive, the fact that most of the cast went for kind of indecisive/impulsive types isn't my bag, but that is valid; but it means no one's really had the chance to organically move from that.

I also think that the fact that there's one big plot that really centers the ruidusborn is another factor. Even if Orym, for example, were the type to shut down the party, what is one person who can't reasonably stop two spellcasters from going into the Hallowed Cage going to do? I think this post makes a good point; I think putting the pressure very heavily on two players who (very understandably! for a number of reasons!) are among the most averse to making a hard and potentially alienating or unpopular choice has sort of prevented anyone else from taking a wild swing. The other campaigns had a much more even distribution of who could make decisions within the party, and I think that reflects that. I also think this is uniquely an issue for longform campaigns; I haven't seen this hesitancy from Laura nor Ashley in Candela, Downfall, nor in the various Daggerheart one-shots and miniseries, since you have to swing big there.

I do want to cover one point specifically, which is that I actually find Ashton to be one of the better played characters. I disagree with them, to be sure, but like, Caduceus is a character who can be arrogant in his fairly limited worldview, but who is also consistently very empathetic and kind. Ashton has that arrogance, but without those priorities. Caduceus isn't really invested in hurting those who hurt him; he's interested in stopping those who would hurt his home, family, or friends, and if that requires hurting them he's okay with that. Ashton really does want to beat up those they deem responsible for their own pain, justified or not. I think taking the shard was a great move and stand by that [though, admittedly, it and the bit about Predathos needing a vessel just now have me like. the consequences have been conveyed in a crystal clear manner to ME and somehow the cast is not getting Matt flat-out saying in game THIS IS WHAT WILL HAPPEN, so idk what's up with THAT.] and my issues stem specifically from his decision to claim to speak for the weak and then immediately accept the titans saying that a remade world in which only the strong survive is fine. Like, I don't think there is a problem in how Caduceus is played vs. Ashton, in that I think they are both internally consistent as characters; I think it's just. Caduceus is someone who tries to make decisions that minimize broad harm to that which he deems good, and Ashton is often, by their own admission (episode 78), selfish and conceited. Like, Taliesin is just. Playing someone who is often not a great person this time. And that's a valid choice. But I think it's in a narrative that didn't really permit enough time and space for characters to change meaningfully so Ashton is a bit stuck there whereas, while Caduceus didn't have nearly as much of a gap between who he already was and the hero he needed to be, he had far, far more room to grow.

[egophiliac]

starting off with an amuse-bouche of some of my initial favorite bits! y'all, this update was WILD.

[godasfarasyoureconcerned]

tonight i’m thinking so hard about the fact that stede killed ned low and immediately dismissed himself and when ed went in to check on him he took ed by the collar and slammed him against the wall to give an outlet to some of his energy and bad feelings. what i’m thinking about in particular is the moment where ed stopped at izzy’s suggestion, and more importantly the moment where he pushed forward against izzy’s suggestion

thinking about izzy saying “give him a minute. first kill’s always a mind fuck” and about ed ignoring his advice. thinking about the fact that izzy could probably tell stede would be feeling bad after this, or at least “mind fuck”ed enough to need some space from people, something that izzy frequently takes for himself when he feels bad too. thinking about ed disregarding the suggestion and getting real actual fucked by the mind-fucked guy. thinking about whether or not they would’ve rushed into sex if ed had truly given stede the space and time that izzy was suggesting. thinking about how he knows that it’ll be hitting stede hard and about the fact that he cares enough about that to try and lessen the blow. thinking about izzy giving an order to ed for the sake of stede, rather than giving an order to stede for the sake of blackbeard. thinking about ed ignoring it because they’ve long grown out of any semblance of that relationship where izzy offers advice to blackbeard. thinking

[natjennie]

sorry I really don't know how to shut up but I think it's possible that a lot of the takes that are like. "ouagh but they should've stayed together forever what happened to them being family 😭" are kind of mm. immature? naive? like have you never had a family member move out? have you never had a sibling go off to college? have you never moved away from a best friend? your family doesn't stop being your family if you don't live together. you don't stop loving people if you're not right next to them. I thought this was the "I keep a part of everyone I've ever met with me" website. what happened to the "I learned how to ride a bike from my best friend's dad when I was 7 and we don't talk anymore but I think about her every time I ride one" like. so much of growing up and being an adult is losing people. in every conceivable way. you grow apart, you talk less, you don't visit as much, you move away. that doesn't make them any less important to you. it doesn't make them any less family. it doesn't make the love any less real. something being over doesn't cheapen the fact that it happened. a show ending doesn't make the rest of it not worth watching. "it's a sad song, it's a sad tale it's a tragedy, it's a sad song but we sing it anyway," right?

[fantasticgothicpeachsludge]

Something something Agent Haldwell being from Jennifer’s movie something something probably her love interest something something they probably had weird “you’re coming with me little missy” kind of banter written by weird male writers something something Jennifer changing the misogynistic script something something drowning him in his own piss

[sonknuxadow]

whatif i DIED !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!