#NO OPTIMISM IS ALLOWED

[zahri-melitor]

Well, in terms of news to wake up to, my DMs being full of people rushing to tell me solicits have a Dinah solo is certainly up there.

So the good thing is that I already know Dinah is cursed and not allowed to have a decent solo that I can recommend to other people by DC, so I don’t have any expectations to raise.

Even if, were I a less cynical person, that premise is right in my wheelhouse of what I’d love to see for Dinah.

But I’m not getting excited, you understand. Even as it sounds like we might finally get Dinah Drake confirmed retconned back to her JSA pre-Flashpoint self, and Ted Grant is in it, and my brain has a dozen directions such a story could go if I were writing it…I am not allowed to have any hopes.

Even without discussing the writer, it’s a Black Canary solo, and Black Canary solos are never anything that I can hand to someone to explain my love for Dinah, so why would DC start now?

On the other hand this will almost certainly not contain Kurt Lance or a white slavery storyline so it’s starting out middle of the pack for a Black Canary solo…

[arcane-gold]

hello rookanis nation. can i present rel and lucanis’s dynamic. sun and moon trope, one with boundless energy and one who gets 2 hours of sleep a night, guy i pulled by being an idiot, etc. they’re special to me

[moeblob]

[scopophobia-polaris]

first female loz director and the gerudo seem to be written fine enough? wow... there ain't no way I thought we were in the worst timeline after totk

Yeah got through the main quest with the gerudo, it wasn't painful! It wasn't even bad! Still got them outfits but for the most part it was like oh cool!

I would say a lot of that oh cool is from the fact they didn't do a lot to even fuck it up to begin with, I'm gonna be real with yall this game is NOT worth $60USD

Edit: lemme say one thing, you know when people were being like damn totk story wasn't dark or mature at all why was this compared to Majora's mask again? And then all the zeldatwt people came out and said zelda is just a kid series domt expect good writing uH

This one feels like a kid's game. That ain't to say it's terrible I would say, hell I'm not far in it if I get something crazy that's like OH FUCK I'll reblog this post and say something but uh.....game for babies I'm gonna be shocked if anyone struggles with any puzzles cuz you CAN CHEESE THEM EASY ITS 🫢🤭

EDIT EDIT: I SWEAR IM NOT EVEN TRYING TO BE A DOWNER..... @ezlo-x HAS BEEN THERE THE WHOLE TIME IVE BEEN PLAYING....THEY KNOW I HAVENT BEEN A PARTY POOPER.....

[sisterdivinium]

Finding "the meaning" to a show that could have had up to five or seven seasons but was cancelled after the second is somewhat like trying to understand a novel composed of seventy chapters by having read only twenty — there is a whole wealth of information which we do not possess that could alter our reading of any given element or of the entire thing in itself.

Still, there are always patterns that weave a story into a cohesive unit and they can help us to better grope in darkness towards comprehension. One such pattern in Warrior Nun appears to be how the consequences to mistakes, "sins" or evil deeds committed by characters manifest.

Basic storytelling usually requires characters to act on something so that complications or resolutions may arise from their choices and move the plot forwards. In Warrior Nun, many of these actions are quite tragic in nature: Suzanne's arrogance and pride lead to the death of her Mother Superion; Vincent's allegiance to the higher power he believed Adriel to be inspired him to kill Shannon; Ava's flight from the Cat's Cradle ends up damning Lilith as she is mortally wounded and taken away by a tarask... All of these events have negative outcomes and heavy repercussions on all characters directly or indirectly involved. Something changes permanently because of them, be it in the world around them or within the characters themselves.

And yet, it would seem that all of these dark deeds not only move the story forwards but might also have overall positive results. We would have had no protagonist without Ava — and she would arguably never have received the halo to begin with had she not been murdered. What's more, on a personal scale, the horrifying crime she suffers is, in the end, the very thing that allows her a second chance in life, a new life.

An act of outside evil permits Ava to grow and develop, shows her a path she would not otherwise have found. Without her own season in some sort of hell, Lilith would not have been able to advance towards other ways of being and understanding beyond her very strict limitations. Vincent and Suzanne would not have embarked on their own journeys of enlightenment without having caused the pain they are responsible for.

Beatrice might have been paying for someone else's mistakes, but she, too, is given the chance to grow into herself through it. The afflictions that torment these characters advance the overall plot, but they also advance them, as individuals, as long as they are willing to learn and keep going despite the calamities large and small that they are faced with. Beatrice keeps going after parental rejection, Mary keeps going after losing Shannon, Jillian keeps going after losing her son (in part through her own actions, adding insult to injury)... Trouble and the adaptation that follows it, if one is open enough to learn from the experience, motivates the characters, propels them forward, teaches them.

The problem of evil has occupied the minds of many a thinker throughout the ages, given how the very existence of it, evil, might call into question that of God (a good, omniscient, omnipotent one, anyway). A common way of justifying suffering (and also God), then, is by claiming, as Saint Augustine, that "God judged it better to bring good out of evil than not to permit any evil to exist".

Now, it would be rather ridiculous to say of Warrior Nun that it follows in Leibniz's footsteps, also because this philosopher, expanding on the augustinian concept, attempted to defend the goodness of a real God with his "best of all possible worlds" while all we have is... Well, whatever/whoever Reya is.

But there seems to be an inclination towards some sort of optimism as a worldview nonetheless.

Betrayals reveal truth and grant knowledge (Vincent's culminates with the coming of Adriel, which allows us to know of the threat of a "Holy War" and thus prepare for it; Kristian's gives Jillian much needed insight, William's lights up the fuse for the fight to be taken more seriously...), crimes committed willingly or not open the way for Ava (Suzanne's killing of her Mother Superion causes the loss of the halo, which is transferred to Shannon, whose death opens the gates for Ava to walk through after being herself murdered by sister Frances)... The magnitude of these positive outcomes is perhaps not "balanced" when compared to the evil that brings them about, but there is still something to take out of the catastrophe.

However tragic the tones of a given event, the show itself appears to shun the predetermination that makes tragedy as a genre; if everything is connected, here it at least appears to not necessarily drag everyone into their horrible dooms.

What's more is that this lurking "optimism" matches really well with our own protagonist's personality.

And it makes perfect sense that Ava would do the best she could with whatever she is given.

Life for her, in the conditions she experienced after the accident, would have been unbearable without some sort of positive outlook on life. However deadpan, the joking and the "obscene gestures" and whatever other forms of goofing around beside Diego are a way of turning a portion of the situation in her own favour. Proverbial eggs have, after all, already been broken right and left — might as well make an omelette of whatever remains.

Humour is just another way of looking at the bright side of something, or, at the every least, of mitigating the utter horror it might bring. If the show allows for moments of lightness, if it lets us laugh, if it takes us through a perilous voyage which still bears ripe, succulent fruit instead of the rot of pessimism and its necessary contempt for humanity, it is because Ava herself sees things in this way. It isn't gratuitous or naïve in this case, but a true survival strategy, especially as it is confronted with the morbidity of Catholicism.

Here is a religion that soothes its faithful with the promise of reward in the afterlife — how else does one charge into battle against the unknown, risking one's own death along with that of one's sisters, without the balm of believing that we shall all meet again eventually, "in this life or the next"? How else does one come to terms with the ugliness and the pain of this existence if not by looking forward to a paradise perfect enough to make all trials and tribulations here worth it?

True nihilism would have annihilated Ava. Her present perspective is what avoided the abyss.

And there is nothing Panglossian to her attitude or what the show might imply by giving us her view on things. This isn't about "the best of all possible worlds", but of making the best of whatever situation we're in, of taking what we have and doing something with it, something good, something of ourselves. It isn't God making good out of evil, but our choices.

Killing innocent people and feeling no remorse will never be the best someone can aspire to do. Sister Frances, cardinal William, Adriel all learn this the hard way.

Those who do their best find that, somehow, they can move on from whatever it was that paralysed them. Ava, most of all, knows what it is to be stuck, frozen in place; she can never be the character who refuses to grow, even through pain, lest she condemns her spirit to the same fate her body is all too familiarised with. Those around her wise enough to let themselves be touched by her, by the dynamic power she carries, walk forth with her and live.

It says very little about "God" that Warrior Nun should adopt its heroine's views and seem "optimistic" as it progresses — but it speaks volumes about the values it presents for pondering, of the inspiration its protagonists provide, and of the multiple reasons why this is a story unlike most others.

[partyhardyontitanic]

I have finally finally finally decided on a story for my deponia s/i and it's basically gonna be Cletus being besties with him before the story and being there for him post-story because she's the only person (aside from Goal) who can tell that's Cletus in Rufus' outfit (not to mention Kristen is the only one who actually missed Cletus) And then they have to live on deponia together where Cletus' knowledge of the planet and Kristen's enthusiasm let them thrive together ❤️

Also snuggles 💗

[chirpos-pencil]

A conversation between Makoto and a peculiar old man

[the-hwaelweg]

Instagram is a deeply, darkly depressing place, but I did learn I've been purling upside down for how I knit and now my sock heels look beautiful, so there is that.

[symbologic]

Recently saw a discussion on Twitter about why Skypiea gets more hate in the West than in the East

The easy answer is: Blame dudebros and powerscalers who care more about fights than about story (to which they will argue arcs like Impel Down and Marineford were FULL of story), or privileged people feeling uncomfy about the anti-colonialist themes (even though, let's be real, those themes are probably lost on the average Western reader :/)

But Skypiea hate in the West wasn't always a thing. At the time it was being released, most English-speaking fans who were keeping up with OP scanlations and K-F fansubs genuinely enjoyed it.

I honestly think part of the Skypiea hate has to do with a trend we've seen over the past decade, where Western audiences are so, so quick to label certain story elements as "filler" without considering their thematic importance and how it ties into the story the author wants to tell.

Basically, Western audiences have become obsessed with hyper-optimized, fast-paced storytelling that leaves little room to breathe

If the people and politics of an arc are beyond the scope or interest of the story's main antagonists, it's suddenly dismissed as filler that detracts from "more important" things

This attitude is not limited to One Piece alone.

[03349656115]

appleiphone

[manyblinkinglights]

I have gotten really good at, specifically, this!

I can’t wait to get the script all updated and everything working so other people can use my project. The ultimate flex is being so good at something you make other people better at it also.

[chaiaurchaandni]

free palestine! <3

freedom is not a matter of 'if,' but 'when'

[hal1aetus]

i love my friends :]

[crowcryptid]

what’s worse 175 GB install size 8 year development hell 8k eye texture with dynamic cheek fuzz (it blows in the wind) 10 krillion dollar budget epic war battle royale third person cinematic universe (2) esport the next generation in storytelling you choices matter open world

or

cozy So Retro farming sim with roguelite elements crafting survival you can pet the doggo to wins the internet game

[raytm]

also ?? Gepard very much maintains a front of being steadfast he doesn’t allow the deaths that he’s had to endure and the fact that he cannot save everyone breach the surface. he has too many people who depend on him to be the stability they need when the world is constantly being thrown into conflict.

[clowndensation]

have decided to be a dav lover btw. am going to approach the game as if i believe it will be good going forward.