#and are we like allowing this is stuff if it’s funny?

[alarajrogers]

I feel like two things are simultaneously true:

You are allowed to make whatever kind of art you like

Other people are allowed to criticize it for whatever reason they like

And I guess the third corollary, other other people can criticize the reasons the critiquers use.

This nuance tends to get lost in the defense against antis. When people are screaming about how "proshippers" deserve to be homeless and get AIDS, it's easy for those who want to say "ship anything you want, it's fiction" to say "none of this means anything, it's okay to ship anything at all."

And it is. In the sense that legally it's allowed, and you have every right to do it, and no one has the right to demand that an organization censor it.

But in another sense, some of this shit really is genuinely disturbing. I could give less than a shit for "problematic age gap of 17/19", but yes, racism and misogyny in fandom are disturbing and it's okay to call it out and say "This stuff bothers me and I wish people would not do it." As long as you're not calling for the authors to be attacked or using ad hominem criticisms like calling them pedophiles for stupid reasons.

I spent years saying how much incest and mentor/student ships bother me. They still bother me. I will defend to the death your right to write such ships and post them to AO3, but goddamn it, I wish you would ship something else. Maybe the cute funny m/m Asian boys and not the brothers with the 20 year age gap. (This is specifically a reference to Heroes fandom from 2003 or so, I don't even remember the year exactly.)

It used to be that it was acceptable for us to rag on specific instances of racism, misogyny, or other really squicky shit without it getting entangled in the calls for censorship. It's hard to do that now. When you're defending someone's right to make a particular kind of art, it makes it difficult to say "but personally I think it's awful and I wish they'd do something else." But I think continuing to call out racism and misogyny in fandom is important. Just... don't confuse it with calls for censorship. We can say "this is pretty bad" without saying "and no one should be allowed to do it."

I genuinely think Mouthwashing fandom is a good example on how real life misogyny is very wired on people brains and influenced how they engage with fictional misogyny.

You have a story about a woman being assaulted and telling a man he trusted but being dismissed because he is friends with the attacker, and people fixate on shipping her with either of those men.

You have a story about how men that downplay their male friends violence, assume neutrality is the safer option, unintentionally help create an environment that's unsafe to vulnerable people, at a risk becoming a victim themselves. And people make it about toxic yaoi.

You have a character kill herself because she didn't want birth the child of her abuser. And people make AUs where she happily keep the baby.

Misogyny isn't just "I hate this women", it's also downplaying their trauma, defending those who caused it, and reducing them to mothers or wives against their wished under this idea of what womanhood is about.

I don't think we can separate fandom misogyny from it's real world influence, not yet.

[tench]

Veilguard is such a weird game.

It's not a Dragon age game, it's bately a role playing game. It's an ok action. Even though it is the most stable AAA release it is still just a bunch of barely tied together stuff in a trench coat.

The writing (insultingly dumbed down and absolutely incapable of taking itself seriously untill the last 1/6 of the game) is all over the place, the direction is nonexistent judging by the tonal shift from one quest to another. We can have very heart felt monologue about the fear of death sit right next to a conversation where a lot of things are told using one specific phrase (I really hope in a clumsy attempt at emphasis) repeated till these words lose any meaning to you.

There's also a problem of role-playing in this "rpg" and the Rook. None of your dialogue choices matter in terms of defining your character, no matter the option you choose, the general conversation will carry the upbeat silly tone. "Your backstory and class matter more than your race" works untill it doesn't, like when you are a dwarf but you are denied your own journey and realizations tied to the titans, and maybe it is not your journey to take yet you can't even try to be a part of it, even when Harding is actively reaching out to other dwarves to share this connection. It's also weirdly more interested in writing romance between npcs than for the main character (Lucanis comes to mind, it feels like the game is actively punishing you for pursuing him, you have to lose the whole shadow dragon faction, you won't get to hang out with Dorian and still you have bare minimum and he more interested in Neve anyway), that's extremely funny that this game is player-sexual yet completely player-aromantic. (And I miss the dai option where you can come up and kiss your LI whenever you feel like it).

I won't even touch on the weird and unnecessary sanitation of everything, like we can't allow people or factions to have negative traits whatsoever. And it's not "southern propaganda", it's "we are not engaging with complex topics for the sake of clear dichotomy between good us and evil overlords". Speaking of which

The whole plot.. The general idea of it is ok. You come to stop Solas, you make the situation go sideways, you have to work together to fix your mistakes and maybe learn to sympathize with the antagonist haunted by his own transgressions with the main theme being legacy and your relationship with your culture and the baggage it brings. But the journey is a complete disaster. Part of it works solely because the characters absolutely Refuse to make a plan and the other - because the main character has a blunt head trauma. Maybe it's related. Maybe it's all a mass hallucination. I may try to elaborate on how it's absolutely ridiculous how little the inquisition and the politics have any impact in this game yet somehow 8 people squatting in the Fade with no political affiliations are held responsible for providing for every faction they come across. I won't even try to make sense of it. It's the usual case of "the main character does everything".

The direction is not only absent in the writing. Some lines that are ok in text delivered in such a way you may think they were allowed only to use the very first take.

The music is absolutely forgettable. Also the odd riff during the dramatic reveal absolutely took me out because I thought I heard kazoo (but I bet Varric would love it).

The visuals are.. Ok. It's pretty on the first glance but the more you travel the more you realize that the general design of the locations are kinda lacking. They have this weird gradient that makes everything a little bit more unfocused and a bit washed out. There are also too many cases of the horisont just drowning in the fog. Air perspective is great and it suits locations like Necropolis, but I would argue that these establishing shots should be used for environmental storytelling in other places, with some focal points in the background, like during the final mission where you see the world absolutely drowning in the blight, devouring local statue of liberty. Or the dead Titan. Or the first shot of the Veil jumper forest (I forgot how it's called) where you see the ruins going into he sky. But because of the fog (or sometimes darkness) it feels like the game is more interested in cheating the optimisation than to hint on the bigger picture (like the chantry and the gallows buildings that you can see almost from all locations in DA2 or the andrastian/dread wolf imagery of inquisition)

So, in conclusion. Not the worst game I played, yet disappointing, even if we pretend it's not an installment of a beloved franchise that people were waiting for 10 years.

Ps. Also making such a game with nerfing all the lore only to nuke all the legacy locations is a choice I won't ever understand. It's like it is not for the fans and it's not for the new people but a secret third thing.

[hpmort]

I feel like if we treated international depictions of the US the same way we treat western depictions of (non-European) cultures then we would have to call “Michealsoft Binbows” racist.

which, like, your call on that, I think that it is probably but also it’s kind of funny?

anyways my point was that, when the guy who made that video went to see the old building

and some Star Wars Otaku at an izakaya just started talking about Star Wars with him (white person=likes Star Wars?)!

this is another thing that would be treated much differently if the things were reversed but I feel that this is just some basic cringe awkwardness either way, in much the same way that “Michaelsoft Binbows” is objectively not good, but subjectively they’re both hilarious.

[navree]

genuinely would love for some of the "both parties are the same" people to name me a single election in the entirety of the twenty first century where the outcome for the country wouldn't have been better if a democrat had won

[carnivalcarriondiscarded]

context <3

[hellogoodbyeitsme]

Broke: Damian is bad at being a Robin because he's too violent

Woke: Damian is bad at being a Robin because he's afraid to hurt people

[mitzysmitzy]

sometimes i think about the dwarves from twisted wonderland and think, yea actually, i can get why gran's annoyed all the time

imagine you were born shorter than others because of your race, and people infantilize and look down on you because of it, i'd be frustrated as well.

and like, imagine, you'll always be seen as this cute little child, even though you're already a sophomore, and you'll probably always be perceived as one, even when you're an adult, because at the end of the day, all you'll ever be is an extension of someone else's image (neige) and you're whole entire identity revolves around them.

idk i just find the dwarfs to be interesting. like whats their life like outside of neige? do they have hobbies of their own? i'm sure they do enjoy performing with him, but is that all there is to it?? like, what if one of them just goes "hey singing and dancing is fun and all but i wanna pursue a career in archaeology"

probably the other dwarves are bothered by this too, but they care about neige a lot, so they don't really say anything

[bunnyboy-juice]

spent the first hour and change at work deleting some old files and am having a grand ol time laughing at myself for not realizing i was a lesbian sooner

[fvckw4d]

The concept of queerbaiting annoys me. I was told that it refers to a work of fiction pretending to cater to a queer audience but then pulling back from it to avoid alienating homophobes, which is an incredibly specific thing. But a lot of people seem to think that it instead means "any time there's any gay subtex, metaphor, or ambiguity" or "whenever something from 1995-2012 was being a normal amount of homophobic for the era."

[nullians]

It’s actually insane how fandom in general has become so scared of making weird and dark and ugly works. Like I look at myself and see how I have also subconsciously adapted this instinct to self censor and make things “marketable” and it’s making me want to crawl out of my skin. I need to get weirder and worse and more off-putting hello

[fizzyghosts]

Hywel is inspired by a mix of my issues with stories with nonhuman protagonist/about nonhumans becoming human AND vet posts ive seen warning people about the dangers of anthropomorphisizing animals. Its fine to joke about your pets doing things out of spite or other human emotions, it does put you at risk of not being able to read their body language correctly. Cats dont cry out of sadness, a cat crying, with actual tears streaming down its face, is a sign of a medical issue. A dog smiling isn't doing it bc its happy, it means its nervous. Not being able to spot these is bad, and sometimes even dangerous, for you and the animal.

If you never get past Hywel's human appearance and treat him like one its like getting a reactive dog, doing zero research or training, and then taking it to a dog park. If Hywel mauls someone in town then its on you.

[spearxwind]

feeling solidarity these holidays with everyone not allowed to talk about their partner with the family

[floorpancakes]

i think constantly about what doumekis inner monologue would be like cause its like the one thing we DONT know other than when he's clearly saying exactly what he's thinking. most importantly i kind of want to know HOW he self narrates when he's in freak mode cause we have seen his visual pov but never directly inside his head and id pay every organ in my body to see that. actually i don't need to do that i can just think about it myself. but like. sometimes it slightly changes depending on the day itd be nice to get a clearer mental image of how exactly he freaks the fuck out

[bylertruther]

imagine being will and getting stalked on your way home one night which leads to you finding yourself in a hell dimension that you are then hunted, starved, and died in, only to eventually be revived and brought back home. but... you're not really home, because whatever died within you left a space in you that the king of hell has made it his mission to fill.

you keep finding yourself back in hell any time you're alone, but you're not really alone because he's always in your shadow just on the other side, calling you back to him. you know of the evil he plans to do and while you don't know your place in all of this you do know that he allegedly doesn't want to hurt you. and yet... he still does. you run, you stand your ground, and you scream at him to go away, but it isn't enough and he doesn't. he's within you now, having infected your each and every cell until there is nothing within you that is truly yours. not your thoughts, not your body, nothing. he's controlling you and pushing you out of your own mind and body until its all his to do with as he pleases.

the people who love you most eventually get him out of you, but it's no use. he's still there, having melded himself to you somewhere beyond what the eye can see, but that you can still feel. he's in your very center, in the place where only you should reside. everyone else gets to be who they are, but not you. not anymore.

ever since you came back, even before he used a shadow monster to physically enter you, you've been willandhenry, not will. he can no longer move you, sure, but it's still just like before: you feel what he feels as he feels it, as if you're one. his pain, his rage, and his undying, steadfast ambition—all of it, everything, completely and entirely awful and grotesque as it is, lives and beats within you as it does him. him: a living, breathing, and all-powerful intrusive thought made reality and that you cannot will away no matter what you and everyone you love does.

like. Literally Okay . will byers aka strongest person ever because i would've clocked out five minutes into this unending nightmare. tfw the horrors are not just around you but especially loud and unrelenting within you + are you still happening there inside your body + am i a man still or is this what it means to be a monster + i want to go back to before there was a before and after, i want to be me again, i want to be a boy and not know the things that i know + feeling like a mistake because everyone gets to move on but you because you're always the outlier you're always the anomaly in everything no matter what i just. Okay . literally okay!!!!!

[waywardsalt]

how much does sonia matter to the story of totk

sonia... is certainly a character in totk, but right now i want to take a look at her appearances within the story and see just how much of an effect she actually has on the narrative of this game. i will only be looking at memories and actual story beats, things such as those floating tablets (idk what they're called i never bothered with them) will be omitted because they are entirely optional content and have nothing to do with the actual story, i'm only considering the memories and present events that most players intending to experience the full base story will see. (i'm not even sure if the floating tablets have anything story-relevant in them, anyways, from what ive seen its just world-building and little character moments.)

it's worth noting that i do like sonia, and i don't particularly think she's a bad character; i enjoyed her, but it's questionable just how relevant as a character she is to the story. i also have a generally negative opinion of totk and its story, so that might alter the way i think about this game and it's story. feel free to take what i say here with a grain or two of salt.

spoilers for a fair bit of totk ig

(post is extremely long yknow how it is 2,581 words under the cut)

sonia is definitely present for the story in the past; she is a comforting presence for zelda and a supporter of rauru. she has power over time (recall, i suppose), and is the queen of the hyrule that rauru has founded, and was formerly a priestess before meeting rauru.

before really starting, i want to bring up that the first time the public got to see sonia was in the 3rd trailer; specifically it is where memory 6 is edited, specifically making it appear that sonia, with her hand outstretched and glowing, is the one therefore shooting the beam of light in the very next cut. in reality, in the actual scene, rauru is the one shooting that beam, but i want to keep this specific edit made in the final trailer in mind, since i want to talk a little bit more about sonia's presence in the story in general at the end, because, again, i personally like her, and am admittedly frustrated with how the game and its story ends up using her.

i consider a character to matter to a story when they do something that impacts or helps move it along. for example, despite being very non-characters, i would consider the old sages to be important as they provide exposition directly to link and the new sage as well as bestow upon them their blessing and their secret stone. they have some kind of effect on the story and other characters and carry out a specific role. if you erased the old sages, you would be missing characters that provide more information to the new sages and properly mark them as their successors in the present. even though they aren't really fleshed out in any sort of way, the old sages play an important role in the central plot of the story. the story needed them to play their specific role in order for the game to progress and for the narrative to continue as intended. they do something to shape the path that the narrative takes, they have an effect.

sonia is a character who technically only ever appears in the memories. i'm completely ignoring her appearing after the final boss simply because she has no dialogue at all and its really nebulous what she and rauru even do. worth noting that she is not alone in that scene; rauru is present with her.

sonia is introduced in memory 3 and then is killed in memory 9, i'm also ignoring her, uh, cadaver in memory 10 for obvious reasons. sonia is therefore active in the world of the past for 7 memories out of the total 15 that take place in the past. sonia is alive for less than half of the memories. furthermore, of those 7, sonia only actually appears in 6 of them, memories 3, 4, 6, 7, 8, and 9, and has dialogue in memories 3, 4, 8, and 9, barely over a fourth of those memories.

noting when she appears and when she speaks is important, since because of the fragmented nature of the past memories, character dialogue is very important in knowing what they do and what information they impart. sonia has a purpose in the memories where she doesn't speak, but i'll get to those after looking at the ones where she does speak.

what sonia does in memory 3: she is the first to approach zelda and her touch is what wakes zelda up. sonia is much gentler with zelda, giving her her name and reassuring her that she is safe.

what sonia does in memory 4: she's mentioned by rauru to have a secret stone and likely used as the example of a secret stone holder due to her own time powers. sonia is the one who says that zelda has both light and time powers, and also says that she can also somehow tell that she and zelda and blood related. sonia nudges rauru for (i think) being a bit cold, and is once again the one to comfort zelda and provides her with a place in the past. she is gentle and patient with zelda.

what sonia does in memory 6: she has no dialogue, but is present to... i'm not sure what she and zelda do here, but i'll say that sonia is supporting rauru's magic with her own. she prompts zelda to join her, and reacts to zelda's magic, telling us that zelda is unusually powerful by comparison.

what sonia does in memory 7: she does absolutely nothing other than be specifically noted by ganondorf for having a secret stone as well as being a hylian woman that rauru took as his wife, and smiles comfortingly at zelda.

what sonia does in memory 8: she recalls a cup that zelda knocks over (the only the we see her use time powers), inquires about zelda's well-being, gives an explanation on how zelda could learn to use her time powers (as well as this being somewhat of an explanation of how recall generally works?), shes comforting again and brings up zelda's light powers, and is the one to bring up link.

what sonia does in memory 9: before the memory, she agrees to meet with the fake zelda (knowing that it is truly not zelda) and clearly planned with the real zelda to confront it. she is the one to point out that the fake zelda is... fake, and controlled by ganondorf, and then is killed after fake zelda disappears.

sonia, from then on, is not present in any future memories, and only ever makes an appearance in the present at the very end with rauru.

so. how much does sonia matter to the story?

she definitely matters as a supporter of zelda and as the one to truly help her feel comfortable in the past and gives guidance about her powers. she's the queen of this ancient hyrule and rauru's wife and a holder of a secret stone. these have relevancy to the narrative, but they don't mean anything in the long run unless they actually effect the plot. she supports zelda, but it doesn't really change anything major, just helps her feel comfortable until things come crashing down again. she helps zelda harness her time powers, which we really only see zelda use against ganondorf and presumably to collect the master sword (and considering that her time powers never show up again, i guess zelda transfers them to link), but zelda is already shown to have great power from the start, and we never actually see zelda training or even struggling to use those powers, she just talks about not quite understanding them, and the first time she uses them she clearly has great control.

sonia conveys the information that zelda has time and light powers, and that zelda is related to sonia and rauru, both of which are fairly important, but sonia saying zelda has these powers merely spells it out for us, it doesn't affect anything about those powers, and zelda being related to sonia and rauru does nothing except explain the origins of her powers. she brings up link in front of rauru, but rauru could've easily learned about link any other way, most notably from zelda herself, so sonia bringing this up just changes when rauru learns about link.

through memory 6 we learn that zelda is, in fact, especially powerful specifically because she is being compared to sonia, who expresses surprise, though, again, this changes nothing, it merely brings attention to something already present.

sonia is suggested to have caught on to the fake zelda's ploy and we can assume that she had a hand in setting up the 'trap' that she and zelda spring on it. she implies that she, while knowing, agreed to meet with it and set this trap with zelda. after fake zelda disappears, she is then killed and removed from the story, though her death motivates zelda and rauru and marks the shift from a tense peace to outright war with ganondorf, and her death is what allows ganondorf to get his hands on a secret stone.

in a sense, sonia does matter to the story. she conveys information for the player and for other characters' benefits, she is an important person in the world of the past, and her death is a major turning point. but... at the same time, sonia does not really matter to the story.

she conveys information that doesn't really change the course of the story. her biggest decided-upon action was done off screen and with supposed help from zelda (and perhaps even rauru) and the biggest impact she makes, the one thing concerning her that actually causes things to move along or change in the course of the story, is her death. a character's death doesnt necessarily mean that from then on they are no longer important to the story, but with sonia, she is completely out of the picture. she motivates zelda and rauru, yes, but that's not exactly the same as mattering to the story. either way, if ganondorf declares war after stealing a secret stone, zelda and rauru are going to fight back with the sages.

sonia's death matters to the story. sonia herself does not matter to the story.

sonia doesn't do anything. she talks, conveys information, comforts zelda and gives her little pointers, but not once do we see her do anything that matters in the greater narrative. nothing she does in the past has any relevancy to the gameplay the players experience, or the side of the story that concerns link. she doesn't play a role that further aids our protagonists asides from maybe helping zelda learn to use her time powers. any information she conveys could have been learned through other means, or otherwise wasn't actually important to the events of the plot.

the most we really see her do is lure out fake zelda, but even then, zelda is the one to actually act in retaliation of the attack, and the most sonia does in that one scene, aside from convey more information, is die. and it's the only thing she does that actually causes a development in the plot or matters in general.

in addition to this, sonia does not do anything alone. she is always related to another character: she comforts zelda, she's rauru's wife and queen, ganondorf kills her, she and zelda corner fake zelda, she supports zelda and rauru. nothing she does she does on her own, there is always another character involved, she plays an extremely supportive role and does absolutely nothing outside of that. she exists to give the players information, she exists to support and motivate zelda and rauru, she exists as a character for ganondorf to kill to prove his evil and steal a secret stone. she is not an independent character within totk's story. she doesn't matter to the story as a character because she is barely even considered an independent character within that story.

when we see her at the end, the one time she is relevant to the present, she appears with rauru.

you could remove sonia from the story and swap her out with just having her secret stone hanging around the castle somewhere and the major events of the story would not change. sonia being the queen and rauru's wife only matters because then her death can motivate rauru, and by extension, the kingdom. sonia being so tender with zelda only matters because then her death motivates zelda. sonia having time powers and being related to zelda only matters to explain why zelda has time powers at all. these qualities do not matter outside of these characters that she is always shown with. the only thing about sonia that matters to the narrative is her death.

and. i don't dislike sonia! i like her! i think she's a good character, she has a personality and manages to be likeable even though she is always attached to a separate character! but she has no effect on the present and doesn't do anything that is relevant to any plot points. and it's so frustrating to see!

she's a major character in the past, and yet is hardly important, has four scenes total where she speaks, and dying is the most important thing we ever see her do. the only effect she has on the present is that the secret stone that ganondorf has was stolen directly from her.

it's just... frustrating to see yet another female character exist mostly just to die and motivate other characters, to see a major female character's only defining traits be that she is kind and nurturing and motherly and you never see anything beyond that.

and i come back to the game's third trailer.

just with the fact that sonia is shoved in a corner and is yet another female character that does not exist independent of others in this story, that we see her use her unique power exactly once to rewind a teacup, that's enough to frustrate me. sonia could've been a much more important and impactful character, but the most important thing concerning her is her death, and not even in a 'haunts the narrative' kind of way- she dies, motivates others, and is never brought up again.

and yet, in the third trailer of the game, memory 6 is cut up and presented in such a way that implies this at-the-time mystery female character had shot that beam of light, and that she would therefore be a powerful character. nothing is done without a reason in fiction, and this applies to game trailers.

i just don't understand why sonia was framed in such a deceitful way in that trailer. i can understand misdirection for the sake of avoiding spoilers, but... when it comes to characters like sonia, who in reality have very little impact on the narrative in this way, it just feels... almost a little devious, and it's so frustrating to watch that part of the trailer that teased a powerful female character (not a new concept for the zelda series, either!!!) and then, when the game rolls around, all of a sudden not only is she not the one with that power, but she is merely supporting the male character with that power.

there's absolutely a whole thing that can be said about female versus male characters in media and video games just with contrasting that part of the third trailer versus the actual in-game scene.

and i just can't help but feel bad for sonia after all of this, a character who could've been an important figure in totk's narrative, who just ended up being a character defined by the moment they stop being relevant.

so... yeah. sonia doesn't really matter to the story of totk, and it's in a really frustrating way. though i have a generally negative and almost spiteful attitude towards totk, none of that spite or anger is directed at sonia- i really wish she had a better role in the story, and i think she honestly deserves it and i don't think anyone is at fault for being fooling into thinking she would be this important and powerful figure. there's serious potential just with the pieces the story does give us! it's just all squandered to make her exist for the sake of other characters.

this might've gotten a bit off-track from that i wanted to say at the start, but... unfortunately, sonia as a character doesn't really matter to the story of totk, and i really wish that she did.

[andrewknightley]

replaying da2 after bg3 is really just like. go kill this irredeemable villain (character that could perfectly be just durge). this magic is mega evil someone who can do this must be killed (spells thay my goody-two-shoes paladin did in bg3 constantly)