#I wasn't given the choice

[markmybirds]

Shuffle On Repeat Music Game

Instructions: shuffle your on repeat playlist and then list the first ten songs. TIL: What an On Repeat Playlist is. Tagged by @wardog-of-the-endless (Everyone should just expect this now) Tagging people.. Uh @genometriics I am actually going to tag @fuckyeah-itme too and Neehehhh~ lmao. @ladynyoko @scattered-stardust .. And anyone who'd like to do this? I tag you too. I am sorry about how Asian heavy this is. You know what, I'm not. I'm not sorry. There's Muse and Mystery Skulls on this... and Marina. That's good enough. 1. SuperM - 100 2. Slot Machine - Free Fall (KinnPorsche Theme) 3. Jeff Satur - Fade (Thai) 4. Jeff Satur - Hide (Thai) 5. Shinee - View 6. The Boyz - Maverick 7. Jeff Satur - Highway 8. NCT U - The 7th Sense 9. TXT - Devil by the Window 10. Tilly Birds & MILLI - Just Being Friendly Bonus: Demian - Casette

I... WE GO 100!?

It's the Kinn version (Thai). I listen to power metal and this theme is up my alley.

Yep. Well.. I knew that even in Shuffle the moment Fade or Hide comes on...

The other follows.

My SHAWOL heart.

......Mmm-mm. They call me "Little Bad", bad, bad.

Okay uh you can tell I have Space Shuttle No.8 on my Spotify and I listen to it a lot. There might be my one and only fanfic in the works cause of this list of songs..

Fave NCT U song and that's saying a lot cause it lacks Haechan.

This. Song. Is. My. Jam.

Yoot khit baeb ni~!! Yoot khit LllllllLLllLlleyyy~. (My fave version is a mash up someone did of Fourth and NuNew's versions on YT)

Bonus: I gave you guys a Bonus cause I listened to JBF all the way through haha. But seriously. I love Demian I want more. Oneus - Valkyrie was my jam for the little Mar Notes List and.. That song also fucking slaps. I STILL CAN'T BELIEVE IT'S THEIR DEBUT.

[ministarfruit]

having normal thoughts about the demon king today

[graciecatfamilyband]

.

[blueskittlesart]

any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before

i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig

from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.

the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.

as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.

I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.

The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.

In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.

[amuhav]

     Asher shook his head. “I’ve seen other paths,” he said quietly. “I may not have my mother’s Sight, but... I just know. I don’t see a life without him.”      “Even if it’s not the one you pictured?”      “That life... it’s the one I wanted when I was a child. I wanted what my parents had. What we as a family had, for the most part. Now, if I try to look forward... I can see a life with just the two of us. It might not be easy—and nothing with Loch ever is,” he added with a dry laugh. “Still, it’s one where I can be happy. It’s gonna take some time adjusting, I won’t pretend it won’t, but I know I can adjust.”      “But if I try to picture one without him, it’s just blank. Removing him from the image, it feels like... like trying to pry out parts of myself. It doesn’t matter how many imaginary children I slot into the picture, it just feels... even more unwhole, and empty. I would be trying to fill that hole with the wrong person, just to fit my life into the shape I thought I wanted. That wouldn’t be fair on them, or me.” He met her eye with a weak smile. “I know what you’re going to say, but it won’t change anything. I already fell too deep a long time ago.”      Havoc’s brow quirked. “You have heard of the sunk cost fallacy, yes?”      Asher scoffed. “Yes. I don’t care if people think I’m crazy for it. Maybe it’s not the healthiest thinking, but I don’t care. Is it the life I pictured? No. But it’s the one I want now. Other people can judge me for it, make assumptions, think I’m making a mistake, but I’m the one that gets to decide that. Or Loch. No one else. And if I am wrong in the end... well, then I live with that. I won’t blame him for my choices.” He chuckled quietly to himself. “We wouldn’t have even made it this far if either of us were the type to do that.”      Havoc hadn’t stopped staring at him with those unsettling red eyes. Nothing about her expression had changed, so he couldn’t tell if she’d disapproved of anything he’d said. Still, he suspected she’d gotten whatever it was she was looking for.      “Mm. I see.” She stood abruptly, looking down at him with a grin that told him nothing. “Well, all I can wish you is good luck. A life with a Karaish seems fated for chaos, and whatever the future holds for you, I’m sure there will be plenty of surprises along the way. Enjoy your breakfast,” she added over her shoulder as she waltzed off.      Blinking, he watched her unceremonious departure with great confusion. Shaking his head, he decided to take the matriarch’s words as some form of approval and continued eating his bacon in lonely silence.

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[maliciousalice]

Hear me out (or don't... it's fine I'm just venting and mean) yeah um I don't believe Chakotay was saved in Prod*gy s2.

[computercreature]

the fact that both times we see izutsumi's time at the sideshow it's her being fed WAAAAAAAA

[id one: izutsumi as a child sitting on the floor of a cage and eating a rat.

id two: she's now framed behind bars and standing on all fours, making it more clear how skinny she is. a hand in the foreground holds out a bowl of what appears to be kibble. narration says "thrown in a cage and given food every once in a while... is that what you would call 'being raised'?" end id]

[gomzdrawfr]

real talk

(ramble doodles)

[mad-hunts]

an idea for how another character could meet barton in an untraditional way: your muse met barton while he was in residency by expressing concern for him as they saw him at the grocery store... with only like five bottles of wine in his cart at the checkout 🫠 JSJSJ

[britneyshakespeare]

i'm very interested what ppl find to be the harder shakespeare plays and which they found to be easier. bc i was googling out of curiosity and i found a sparknotes article (link if you're curious) that ranked ten of the most commonly-read plays on difficulty and it put king lear kinda down low whereas it put julius caesar pretty high because of the politics/complicated conflicts. that kind of baffled me because julius caesar was the first tragedy i read outside of the classroom and i found it very approachable; it's one i often recommend to people trying to get into shakespeare because the plot is already familiar to most ppl and you can just enjoy the poetry and how shakespeare chooses to characterize these figures. on the other hand i read king lear a few years later in my shakespeare journey, and to be honest i still kind of have a hard time with lear. maybe i just don't connect with it on some level; i'm not sure. it's not a very tightly-organized play where the action is as centered as in the other tragedies like hamlet or macbeth. that's certainly a me thing and maybe that'll change with age. but i'm always a little surprised when i find someone's experience with the plays so much different than mine.

anyway if you're reading this feel free to reblog and tag or comment which shakespeare plays you found yourself falling into most naturally and which worlds you felt like you had to force yourself into. i'm interested in what ppl feel on this subject

[batemanofficial]

saw alien romulus.......lots of pussy even for a giger thing

[adhd-merlin]

A Remedy to Cure All Ills, 1x06

[myauditionfordrphil]

Exactly kaun se nashe karke squad selection kiya hai BCCI ne??!!

[invisiblemelonmoose]

Seasons

I had a million ideas in my head, but also I wanted to do something a stretching my artistic abilities a little more, so I did a little colored bg as well. Definitely not really great at lineless stuff, tho. Stole the idea for Kris's braid from one of @artist-ladychelsea's designs.

[randomnameless]

Sorry for this ask being a little out-of-nowhere, but in regards to Ryoma being jealous of Corrin's leadership skills, i do think there's more evidence in favor of Corrin being decently old when they were kidnapped than against; the afterlife section at the end of Conquest confirms that Corrin and Ryoma used to have full-on sparring matches together, meaning that Corrin was being constantly trained in how to fight while living in Hoshido, which would very likely only happen when they were in their early-to-mid-teens at the youngest, given how there's no implication anywhere in the game that Hoshidan soldiers start their training at a very young age.

The only thing that implies they do is Hinoka stating in her support with Camilla that she was 6 years old when she first started training to rescue Corrin (meaning the latter would also have to be 6 at the oldest due to being younger than her), but that line is a mistranslation; JP!Hinoka just states that she's been training to rescue Corrin for a long time.

No worries!

I know I ranted about FE16's lolcalisation, but FE14 takes the cake though - every single piece of intel seems to have been lolcalised.

With FE16 you can safely assume anything regarding Supreme Leader/Rhea was lolcalised to make one worse than she should to prop the other, but with FE14? Why the fuck did they need to lolcalise Corrin's age, which in turn creates this weird line from lolcalised!Ryoma ?

Corrin being older than what the loc implied would make more sense regarding the events that happened - granted, afair, FE14 doesn't reveal character ages or something?

[fiapple]

...the "nothing happened" scene has caused my brain to latch on to zoro with a vice grip. send help.