#I wasn't given the choice

[mar-of-musing]

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.

[crimsonphantasmagoria]

Veilguard is not about regret

I've seen a lot of discussion going around about the themes of regret in Veilguard. In particular I've seen a couple of related claims thrown around: one, that Rook and the Veilguard companions are supposed to act as parallels/foils to Solas, an example of how to deal with regret healthily, and two, that Rook is a terrible foil to Solas because there's nothing that they've actually done that's worthy of regretting, and anything that they theoretically should regret (like helping disrupt the ritual that freed the Evanuris, whether you think that's a deserving accusation or not) they simply don't. I'm here to tell you that both these perspectives are true, and it's because Veilguard isn't actually about regret.

Let's start off by talking about the companions shall we. Let's list off the regrets in their storylines. Bellara regrets not being more careful and not somehow saving her brother. Taash regrets not making up with their mother before her death. Davrin doesn't actually have one of his own, instead the regret in his storyline is Isseya's regret about what happened with the Griffins. Emmrich's storyline is more about wavering on the brink of a choice, which may cause regret, though I suppose we could include regret about where his friend has ended up in life. Lucanis regrets what happened to his relationship with Illario. Neve regrets Aelia remaining free, and the death of Rana's partner. Harding regrets not seeing through Solas earlier, and also I suppose the fate of the Titans, though I'm not sure I would categorise what she feels about that as regret.

Are you seeing a pattern here? Let's elaborate on it further. While in the Regret Prison, Rook is confronted by three regrets: the loss of the secondary team leader, the loss of the companion who disabled the wards, and the loss of Varric. And the solution to all of these regrets is this: it wasn't your fault. Those companions, they knew the risks, and they volunteered to go into danger. It was their own choice.

Now Solas. Solas has a great many regrets. He regrets tranquilising the Titans. He regrets taking a body. He regrets killing Felassan. He regrets killing the fragment of Mythal that was in Flemeth. He regrets creating the Veil. He may even regret starting his slave rebellion, given everything that followed after, though that memory is unclear what the actual regret is. These are all active choices he made. The only comparable regrets amongst the companion's storylines and Rook are Isseya's, and sort-of Emmrich's. I'll come back to Emmrich later. Isseya's regrets are actually a pretty good comparison point, except, as is obvious, that's not actually Davrin's storyline. Davrin's regrets on the Griffon front are more institutional, and feed into his storyline about having been made into a weapon, and what to do with yourself after your purpose as a weapon has been served. Actually a pretty good parallel with Solas! Except, once again, it wasn't really his choice, was it? And it's certainly not a choice about a horrifying atrocity he comitted.

Which brings us to Solas’s final regret. He regrets Mythal’s death (the first one). Except, that isn't his fault, is it? She chose to go and confront the Evanuris, rather than join the rebellion or run away with Solas. All he did was give her the information that they were interfering with the Blight, information that she would almost certainly have learned for herself eventually, and assuming she would have made the same choice to confront them would still have resulted in her death. The solution is: it wasn't his fault.

This is the regret that is being paralleled, by an overwhelming majority. And they're right, it isn't his fault and he should forgive himself for it. The thing is: this isn't regret. It's a twisted form of grief. Once you realise this, the whole theme starts unravelling, because not all regrets are created equal. I think this is why some people accuse the narrative of excusing Solas, or trying to sweep aside the things he's done: because it is. The whole message of Veilguard is that you should forgive yourself for the things you had no control over, except that Solas did have control over all those other regrets I listed out earlier, and I say that with a great deal of affection. He did that. He can't forgive himself because it wasn't his fault, because it was. Not all regrets are created equal. And the focus on the narrative of 'it wasn't your fault' means that people look for the person whose fault it was, and that blame lands on Mythal. Who does share some responsibility for some of those acts, but again the narrative is about deliberately pushing away culpability. I suppose one could make an argument for blaming Elgar’nan for everything? I think we should blame Elgar’nan for everything.

Indeed, the narrative focuses so hard on the idea of Solas doing everything because of Mythal, because of that twisted grief, that it completely loses sight of the actual reasons he had for doing the things he was doing. The spirits are trapped in the Fade, many of them yearning to access a world they naturally should have access to. The elves have been enslaved for millenia, and have lost almost everything about themselves, including their origins. Mages are either feared and reviled, or use their overwheling power advantage to lord over those who don't have the same access to magic. And let's not forget, two more Blights and the Veil comes down anyway, releasing the Turbo Blight (which he created) onto unsuspecting Thedas. Not to mention there were suggestions in Trespasser that there was something going on with the remaining ancient elves in Uthenara, who apparently vanished from existance along with his agents.

I mentioned earlier that I would come back to Emmrich. That's because his storyline, in my opinion, is the only one that actually depicts the theme they should have been going for with DA4, namely, when presented with a difficult moral choice, what will you do? What are you willing to sacrifice, and for what? In theory, as has been pointed out before, Bellara's archive choice might once have also been this: it is implied by the phrasing of 'free the spirit' that the Nadas Dirthalen was supposed to be a trapped sapient spirit, forced into servitude, rather that a fantasy VI, and the choice at the end would have been do you free the innocent at the cost of the knowledge you could extract? These naturally feed into: do you bring down the Veil, causing a great deal of sorrow and harm but also potentially creating a better, more equal future, or do you refuse to make such a great sacrifice of lives? At the very least, I think this theme would have stayed more true to the setup of Trespasser, as well as the design of the companion binary choice system, and who knows? Perhaps there might even have been a third option.

[ministarfruit]

having normal thoughts about the demon king today

[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.

[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.

[theheadlessgroom]

@beatingheart-bride

"Oh!"

Hot, joyous tears sprouted from Susannah's eyes as soon as the question left Philippe's lips, a shaky smile crossing her lips as she put a hand to her mouth: Again, despite knowing exactly what he was about to ask of her, she still couldn't help but be surprised.

"Oh, Philippe..." she murmured, eyes glistening still as she lowered her hand to rest on her pounding heart, wondering if it was as deafening for him to hear as it was for her, hearing it thrumming and drumming in her ears. "Before I met you, I...I never thought about the future. I felt like...I had no future, other than working at Mickey's. That my life would always be so...boring, so empty.

But you...you changed that! You came into my life, and brought so much light and energy back into it, and you've...you've made me the happiest woman in all of New Orleans! And to be your wife...that would make the happiest woman in all the world."

She punctuated this declaration by throwing her arms around his shoulder and embracing him in an excited kiss, pale cheeks red as roses as she concluded, "Y-Yes, I-I'll marry you!"

[magichats]

On the one hand, Kind of bummed out that the OG soundtrack isn't coming to the Steam / Switch port of OFF

but on the other hand it doesn't seem like the freeware version is going anywhere and it's not as if you can't find the OG sountrack.

I will do my best to be open minded and the new soundtrack might also be great, but it really is that one thing spoken about with translation in those Legends of Localization Books RE: How people feel about translations they're more familiar with vs newer ones. Except rather than the translation it's the soundtrack and how much effect the soundtrack has on the game

[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

[f1owermoon]

i know people are excited abt the possibility of joost joining tommy/kä on stage tonight but don't you think the man has had enough 😭

[girltakovic]

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

[adhd-merlin]

A Remedy to Cure All Ills, 1x06

[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.

[myauditionfordrphil]

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