#and established characters. And it is NOT working

[ghostofbriggiesmalls]

And to quell dissent, the post 9/11 media (i.e. movies and tv shows - think 24) facilitated this. This is undoubtedly due to influence by the Department of Defense - they pour MILLIONS into funding movies and TV shows every year and give access to military equipment, provide consulting, etc.

They wanted what they were doing to look unpalatable but necessary. And the reality is that MOST people, the military included, bought into that idea. Fuck, I would say even people who should know that shit doesn’t work who were doing the actual torturing probably deluded themselves into believing it does.

Study after study in the post 9/11 world, however, has shown that people will say whateverthefuck under duress just to make the torture stop. Does it make them confess? You’re goddamn right it does. They’ll confess to murdering that guy. And their mom. And to having faked the moon landing. And to having shot JFK. And to being secretly 3 raccoons in a trench coat. Whatever you want just to make it stop. And, for clarity, when people are being enhanced interrogated tortured, it’s not like the detainee is saying “ok, you waterboarded me enough so here’s the plan…” They’re being asked simple questions like, “were you at the meeting” or “do you know Steve” and are being tortured until the torturer gets the desired response. “No” and “I don’t know” aren’t the right answers and result in more torture. So you say “yes” to make it stop.

The FBI was the only US security agency to actually get relevant information from adversaries in the post 9/11 era because they’ve been running interrogations of people for fucking ever and they know how to do it. ACAB. They established a relationship, got the person talking, then got relevant info. ACAB. That’s a normal part of law enforcement. ACAB. Fuck the cops forever but at least they got that right. ACAB.

Interestingly, this is where the movie Zero Dark Thirty is kind of a wild case. When it came out if got MASSIVE blowback for its torture scenes. People were saying it was pro-torture because they show these scenes where a character is being tortured and he ends up giving up information. And the characters in the movie are like, “yeah this is unsavory, but look at how effective it is.”

But, and this is critical, the information they get is wrong and useless. It’s not until one of the characters takes the prisoner out of the cell, starts talking to him, feeds him, and basically treats him like a person, that they get actual useful information. Sure the characters who are ostensibly the protagonists are pro-torture, but the plot shows that it’s actually bullshit and they’re wrong.

All that to say, yeah, torture doesn’t work irl and pretending like it does in media is irresponsible and dangerous because it helps all of us pretend like it does and just keeps us doing more torture.

Things that work in fiction but not real life

torture getting reliable information out of people

knocking someone out to harmlessly incapacitate them for like an hour

jumping into water from staggering heights and surviving the fall completely intact

calling the police to deescalate a situation

rafting your way off a desert island

correctly profiling total strangers based on vibes

effectively operating every computer by typing and nothing else

ripping an IV out of your arm without consequences

heterosexual cowboy

[felassan]

The Art of Dragon Age: The Veilguard preview pages Part One, under a cut due to spoilers. Preview pages come from Google Books.

[Foreword]

[Part Two]

Life in the Tevinter Imperium.

Part One: Post-Inquisition

Top: Returning to Rivain with a precious quest object. Middle: Exploring Par Vollen, the home of the Qunari. Text: Halfway through the development of Dragon Age: Inquisition we created a series of illustrations we called “beat boards” (intended to cover a major moment or “beat”, they are more polished than a storyboard). They proved to be helpful as we brought the game together. As Inquisition was coming to a close, and a sliver of attention was being paid to the next game, we wanted to try doing beat boards right at the start of the game, rather than the middle. With a few general ideas like “We’re going north” and “Maybe there are Titans” and a sense of story momentum, we started creating exploratory beat boards, asking ourselves the simple question: “What would be cool?”

Top: On a secret mission in Tevinter. Bottom: Receiving an assignment from the Inquisitor

The Red Bride's grave.

Top: An old Warden that was avoiding the Calling. Bottom: The first attempt at designing Weisshaupt Fortress. Text: Northern Thedas - Designing the cultures of northern Thedas was like a fun speculative-archaeology project. We were starting with fragments. There were occasional props, characters, or journal entries that hinted at these cultures, and we had to reverse-engineer living, breathing societies from those fragments. The most important aspect was to design them in a way that respected our fans’ engagement with the material but also attempted to exceed their imaginations (or at least do them justice).

Top: In an ancient magical city, some buildings that would have collapsed centuries ago are kept frozen in time. Bottom: Infiltrating the Archon’s throne room.

Middle: One of the first ideas for a player base was a secret lair in Minrathous’s forgotten undercity. Bottom: The very first concept art of Minrathous. Trying to capture the elegance and pride of the Imperium.

Top: The Divine sends out ships to hunt Solas in the hopes that his capture will restore peace to Thedas. Bottom: A Tevinter magister, a Chasind witch, and a Ben-Hassrath commander plot against the player.

Top: A war room in the captain’s quarters. Bottom: We explored making the player base mobile. It would give us water access to most of the regions in northern Thedas.

Top: Early on we explored the return of the griffons – in this case, using them as mounts to hunt dragons. Bottom: Something in the depths has scared the dwarves enough that they’re fleeing to the surface by the thousands.

A coastal town in Rivain.

Top: Elves from all over Thedas answer a mysterious call to Arlathan Forest. Bottom: Exploring a possible endgame scenario where Solas has summoned a Titan in the middle of Minrathous.

Top: Solas returning like a regal figure out of the distant past. Bottom: What if we return to the Fade and rescue whoever was left behind? How would their time in that alien landscape change them, and what insights could they offer into Solas’s plans?

Top: The part runs into their Tevinter counterparts, and they have to work together to survive. Bottom: Solas interrupts your mission, wiping half your team off the board and forcing you to make an unlikely alliance.

Top: Your ship is stolen, and you have to sneak into enemy territory to get it back. Middle: Journey to the heart of darkness to find Colonel Kurts… er, Solas. Bottom: We created piles of sketches and line work to explore story beats. We could iterate quickly and throw things away if necessary.

Top: There are multiple factions in Veilguard. To make sure they were always recognizable, from their buildings to their belt buckles, we began with shape.   Middle: We had explored Tevinter’s shape language in Inquisition, so in their case, it was a matter of expanding on what was established. Some shapes just felt right (like Wardens and the pointed arch). Bottom: A residential Tevinter interior.

Various captions on this page: An upward-pointing triangle for the mages’ college. We explored some sturdy shapes for the dwarves. The Wardens’ pointed arch could be turned upside down into a shield. Rivain has a been a neutral faction, so the circle worked well. The Necropolis factions started with a half-circle “crest”. A downward-pointing triangle for Tevinter. Ben-Hassrath started with an X shape language.

[no captions]

A wealthy Tevinter mansion. To show off, most of the house is built on top of a floating stone slab veined with lyrium. Visitors try not to think about what would happen if the magic was interrupted.

Slice-of-life illustrations like this weren’t prescriptive, but they helped to explore the feel of certain regions we had only ever heard references to.

Rivain is a trade center. It’s one of the places where you’ll see the greatest overlap of cultures.

[no captions]

Tevinter is a complicated place. While there are lofty towers and powerful magisters, we also wanted to explore what the daily life of Tevinter might be.

Top: Peaceful beginnings, gentle giant gardeners, and curious spirits. Middle (1): The spirits saw the dwarves as they tended to the Titans, and they wanted to try making bodies for themselves. Middle (2): The spirits made physical bodies for themselves from the “flesh” of the Titans. The first elves were born, and the first war began. Bottom: A brutal war raged on between the elves and the Titans, only ending when one elf (Solas) rendered the Titans “tranquil”, capturing their souls.

Top: The elves brought a powerful war trophy home. Middle (1): With the Titans rendered tranquil, dwarves lost their connection to magic. They fled into the bodies of their fallen homes. Bottom: With the power that came from the captured Titan souls, the elves built the greatest empire Thedas would ever see.  

Top: Solas fought against the self-proclaimed gods, earning the title “the Dread Wolf”. Middle: The gods drew upon the power of the Titans’ souls to gain more power. The imprisoned souls became twisted with rage. This became the Blight. Bottom: To contain the Blight outbreak, Solas performed a desperate blood-magic ritual. He bound up the magic of the world behind a Veil and powered it with the blood of the evil gods. Text: Black Codex – There was a top-secret document on BioWare’s network that contained the objectively true history of Thedas called the Black Codex. Each culture had its perspective, its own emphasis and style, and over time more was added and taken away. It was decided to reveal a lot of truth in this game, so early on we wanted to illustrate the Black Codex. This would help to act as a visual guide to the events that formed Thedas as we know it.

Top: What remained of the elven empire collapsed. The early human empire of Tevinter discovered it in shambles. Bottom: Eons later, the Blight reached out to power-hungry Tevinter magisters through their dreams. They were lured to the Golden City, but the magisters found it already blackened by the Blight.

Various captions on this page: At this stage, just about anything goes. Writers and artists both have ideas for what kind of characters they’d like to try, so we dump them all out on the table. We created some comics to explore the tone of the story. Some of these characters were designed specifically for that purpose. The Heir of Andraste: Finding the last living descendant of Andraste, a rough-around-the-edges warrior living among the barbarians. The Gladiator: A Tevinter gladiator that has earned her freedom. Her arm’s protected by mail made of keys from all the slaves she has rescued. She wears her former shackles as rmor: a reminder and a threat.

Various captions on this page: The academic and the mage college scholar forced into the field. Initially we work from very simple premises, often only a couple of words, like “happy necromancer” or “Qunari assassin”. An awakened darkspawn mercenary. Text: Early on we thought about creating a new set of advisors for your ship. It’s satisfying to revisit characters from previous games, especially if time has passed. It’s a chance to try and make their story visible. In this case, we see a Morrigan that has embraced her new gift, who can offer insights into the mysteries of magic and the ancient elven world. This version of Dorian is like Mathis from Casino Royale, someone who can advise you through all the ins and outs of Tevinter culture. Smuggler Admiral Isabela can get you into and out of just about any port in Thedas.

[stunies]

EVIE’S NOTE! welcome to my very first event! this is an open fandom, minecraft centered event that is open to anyone 18+ (anons, strangers, non-followers & non-mutuals are more than welcome to join in!! i would love to create a little selfship / match up post for you)!

if small text is hard on your eyes, see here for this exact post in large text & auto caps. otherwise, details & how to join are written below!

INPUT (SEND THIS BLOG AN ASK)… first: your pseud / name (if anon, u can name yourself … anon A? sparkling anon? or just anon). second: if off anon, send me a picrew of yourself! any picrew is fine, but there’s one if u can’t pick. if on anon, describe yourself in detail please! for skin tones, i think i would cry if i got the wrong one, so please give me your fenty beauty foundation shade as a little reference ^^; then send either your preferred fandom or your f/o’s full name!!

AVAILABLE FANDOMS : blue lock, genshin impact, haikyuu, honkai star rail, kaiju no. 8, my hero academia, one piece, tokyo revengers, and wind breaker. you’re more than welcome to send in fandoms that aren’t listed! just know that i am unfamiliar with the character but will do my best (: so i guess any fandom goes

RECAP : send pseud / name + your description or picrew as an ask. if you have an established selfship, send name of f/o. if you would like a matchup, send your preferred fandom instead.

EXAMPLE 1 (MATCHUP) : “evie, kind of wavy black hair, light blue eyes, skin tone : fenty beauty 150 - neutral). please match up with someone from wind breaker! *insert info about my personality that would help me find your match*” + any characters that i definitely do not want to be paired with!!

EXAMPLE 2 (SELFSHIP) : “evie + moze, here is my picrew !! *optional: insert some cool info about my selfship that would help me set u two up on a date”

OUTPUT (WHAT I MAKE)….. here’s the link to an example!! i make a post on @z3vie, and i will tag you if you’re not on anon. if you’re on anon— then u gotta scroll!! it’s there somewhere beloved!!

i’ll make you and your f/o a minecraft skin- to the best of my abilities. features will be vaguely represented since i’m not very good bahhaha. i’ll set you up on a minecraft date!! who’s fighting mobs and who’s picking flowers ? >:o we will see. there’s a limited number of date ideas, so repeats will happen. thennn finally, i’ll make you a little moodboard and blurb to go along with it.

OTHER INFO THAT MIGHT BE RELEVANT… i won’t post your ask. i’ll delete the ask when im done & mark yours as complete in my queue! my queue is below, so you can see which ones i’m working on. also, it’s a very chill event! you’re welcome to send me no selfship info, or pages of selfship info. don’t even stress about it ^ ^ !!! (tho u should send me selfship lore because i am nosy) u could send me the minimum and i’d make it work. PROMISE so pls join pleaseee plsplspls ALSO rbs to boost are very appreciated and i will give u a big smooch for it !!

oh shoot also stunies is severely understaffed (there is only one evie here and no twice in existence to duplicate myself) so please be patient > < i will do my very best !! trust :>

ONE MORE THING MY DEAREST FRIENDS! this selfship event is in collaboration with @mlkbwunnies’s 2024 yume creators market !! meaningggg a bunch of others are hosting selfship events right now too!! free free to check out ying’s masterlist here :> HAVE AN AWESOME SELFSHIP WEEK YAYY

evie-specific booth info: OPEN from nov 11 - end of nov 15 (PST). though it’s not a hard deadline. bahaha. anyone 18+ is welcome to join! ^ ^ there’s no slot limit / max !

CURRENT QUEUE! if searching for your completed post, see @z3vie !! also, if your name isn’t listed here- that means your ask did not go through (i didn’t receive it). my ask box has been problematic for the last month or so, so just send it in again > < !! (note — the animal group names have no relevance, they are just cute hehe)

POSTED / COMPLETED

deer group — ( grey / letta / kiki / yue )

polar bear group — ( min / rye / ying / nick )

cat group — ( awea / aegis / sua / gray )

hamster group — ( kendall / lauren / kruin / rara)

UPDATE — snoozing 💤 these 4 just need blurbs … tmr morning

IN PROGRESS — making skins tmr!

rabbit group — (rae, lena, marlyn, and aspen)

lion group — (aliyah, hea, quinn, and bibi)

NEXT UP — divided into groups of four:

koala group — (sylvester, kayla, lexi, and jess)

tiger group — (venus, em, nyx, and meirin)

axolotl group — (jiae, romy, luvie, and candy)

panda group — (kai, ai, cy, and aims)

fox group — (jay, liv, amor, and sam)

bumblebee group — (bee, flora, zebra, and atlas)

unicorn group — (ophelia, fuji, venus, and mari)

hummingbird group — (esther, risu, mitzi,

[writers-potion]

How to foreshadow? Like a big thing is going to be revelation after few chapters so how can I drop subtle hints about it? Lots of love 💗

Foreshadowing Creatively

If you are trying to build up towards the 'big moment' throughout a few prior chapters,

Let's assume that we want to reveal the the fact that Character A's husband is cheating on her. The big moment here would be when she witnesses them kissing in the parking lot.

To drop subtle hints about it, we could:

Have the husband doing things that are just slightly out of the ordinary, but not enough to attract serious suspicion: taking call outside the bedroom, being more tired after work than usual

Insert direct evidence that Character A could've picked up on, but she doesn't because she thinks it's ridiculous to start having doubts.

Use symbolic motifs. The husband informs her that he lost is wedding ring - a complete accident. But this indicates a 'break' of their marriage vows.

Similarly, you can use color/animal/location that subtly hints at secrecy, infidelity and dishonesty.

It may even be enough to have seemingly unrelated bad things happen to her. Maybe she cuts her finger while prepping dinner for her husband, or suddenly starts feeling that their bed is uncomforatble to sleep in. There's no logical link between these details and the eventual realization, but the mood gets established.

Think about the big moment from two different points of view: someone who knows about it all along, and someone who doesn't. How would it look from an outsider's POV?

I find it helpful to think about howI tried to justify the bad events that has happened to me.

For example, I messed up on a math test. The logical reason for this was that I didn't study enough. But my brain would: - blame it on the weather: it was raining! And I hate rain! - the supervising teacher, Mrs. G, was my least favorite and that had affected my mood. - I always eat an even number of chocolate before tests, but I could only eat 3 that morning because that's all that I had left. - the bus came late

Drive your character's mood slowly towards the revelation. If it's an emotional one, I'd say the atmospheric/symbolic elements would be more important; if it's puzzle pieces finally clicking in place, you could provide a brief overview of how past events are finally put together by your main character at the end.

─── ･ ｡ﾟ☆: *.☽ .* . ───

💎If you like my blog, buy me a coffee☕ and find me on instagram! Also, join my Tumblr writing community for some more fun.

💎Before you ask, check out my masterpost part 1 and part 2 

[gay-furry-poseidon-lover]

All of this is very fair, and good to read about. Though I do think Op has a point about the black and white of how people treat Epic's Odysseus verses anyone who gets in his way, and how hypocritical the treatment of Calypso specifically is if you look at how like. Any man in greek myths is treated. I believe Odysseus took women as slaves on his ship in The Illiad. Sometimes its someone else but he is one of the people who said they must kill the son of Hector, he dropped this baby off of a wall. Sure you can argue "it was willed by Zues," but I dont think that makes it any better morally. When he gets home he commands that an unfaithful servant be strung up and tortured untill death, as well as killing every female servant who was unfaithful to him. We dont neccesarily know to what degree, or even if engagement with the suitors was consensual. But all of this is to say that there really is no true good or evil character. I say all of these things as someone who really enjoys the Odyssey and Odysseus. We can recognize that acting in the ways he did would not be okay or acceptable in our society today, but we still tell his story and praise him for his loyalty and endurance.

Epic is a work of fiction inspired by The Odyssey. It is not meant to follow it exactly, nor portray an accurate example of how the story plays out in the book, and we must keep this in mind. In greek myth there are many versions of each story, many differing translations and interpretations, and long before they were written down they were passed on through oral tradition. I approach this with the mind that with each new retelling we learn about the time it was written, and what biases a translator or story teller may have let leak into it. Not that they are neccesarily false, just different, and products of different people.

A persons first introduction to Calypso will certainly influence their opinions on her as she is present in many different pieces of media. And what i think is most important is that we remember she is fictional. She's a goddess, a nymph, someone that exists only in the stories we tell. And the same with Odysseus. Its very likely writers took inspirations from real heroes and their experiences, but the Odysseus we know today is not a real person. Neither him nor Calypso are personally affected by the things we say about them. You can't conflate theorizing about the different possibilities of how an ancient story went with say, denying the story of a modern victim of rape. These are very different things in very different contexts. I thought fans of greek myth would be on the same page about this, what with the plentiful rape, incest, murder, slavery, and beastiality described in myths. But apparantly it needs to be said that enjoying stories that contain violence and crimes like these does not mean you condone or support these actions taking place in our modern society.

People are free to talk about Zues and enjoy his character without constantly giving disclaimers that we can never forgive him and he has done bad things. Because we know that, its established, its clear. People dont accuse you of being a rape sympathizer or being into fucking cows just because you mention Zues. Hes low hanging fruit though. Hera, Aphrodite, Artemis and Apollo, theyve all done horrific shit. But we dont immediately critisize anyone who talks of them fondly. Achilles did it with a corpse cause he thought she was just that beautiful. Obviously thats gross and bad. Liking his stories doesnt automatically mean you agree with that.

I'm not on tiktok (thank god) but ive seen a couple videos and posts that are very black and white. Calypso is an evil abusor and if you like her than you support abuse and rape. It's annoying as hell. I've been abused, ive been in coercive sexual relationships, I know first hand that thats bad. Duh. And if you find comfort in relating to Odysseus because of your own experiences, and that leads you to hate Calypso, thats okay. If people talking about Calypso is upsetting or triggering to you, don't engage with it by all means. Take care of yourself. Block, hit not interested, scroll away.

But what you should not do is tell random people on the internet that they are as bad as rapist abusors because they were talking about the one sided love of a nymph goddess and a mortal man in a musical inspired by anime and video games.

People are able to sepparate fiction from reality with so many other characters, why is it that Calypso is such a controversial one. Her character, and her backstory, have so much to explore and think about, and we can do that without believing that she is without any flaws or faults.

Think of her what you want, say about her what you want. Just stop projecting whatever beliefs you have about what it means to enjoy a fictional character onto everyone who disagrees with you. If you are do passionate about justice for victims, go outside, engage with local communities, see a friend, see a therapist. Speak out about the real, alive abusors and rapists who hold positions of power in our world right now. That will bring much more good to the world than starting discourse on tiktok, I promise you. (not directed at op or reblogger, but for people in general.)

Something I'm starting to notice about this fandom; y'all can like Epic's version of Odysseus without trying to paint Calypso as a rapist.

Odysseus in the original tale did cheat on his wife. Several times. And there's nothing wrong with acknowledging that. But trying to paint him as blameless and all the other women as rapists for seducing him is not the winning move y'all think it is.

Like Tiktok is becoming the worst when it comes to the topic of Calypso.

[requiemforthepoets]

baby peanut! 𖦹 LN4

PAIRINGS: lando norris x wife!reader

SUMMARY: keeping your pregnancy from lando was proven to be very hard when all you want is tell him the amazing news that you both are expecting again. but since his birthday was coming up, you waited for his special day to tell him.

REMINDERS: this is purely fiction, the way how the character is portrayed in my story does not reflect the person that is portraying my character in real life. always separate fiction from reality, and do not repost or copy my work in any way.

WARNINGS: reader is french-russian, multicultural household, established relationships, pregnancy, typos, and gramatical errors

WORD COUNT: 3.1k

AUTHOR’S NOTE: HAPPY LANDO DAY!!!!! was debating on posting a new fic for him, but decided to just make it a part of the norris family series, though this can be read as a stand alone. hope you’ll enjoy this one!

The soft morning light was just beginning to filter through the white curtains when you stirred awake, glancing over to see Lando fast asleep beside you. His peaceful face looked even more boyish, framed by the tousled strands of hair he hadn’t bothered to tame before collapsing into bed after last night’s stream. It had been hours before he joined you in bed, he and Max laughing and gaming into the early morning, and you knew he deserved this rest.

Just as you began to carefully sit up, you heard a soft rustling sound from the bedroom doorway. Peeking over, you spotted a small figure, a very familiar figure—a little silhouette with tousled hair, just like Lando’s, and sparkling eyes, trying best to tiptoe into the room. It was Thylane, with her tiny hands clutching her favorite blankie. You could see that she was struggling to hold back a giggle as she glanced over at her sleeping father.

Smiling, you brought a finger to your lips, silently shushing her. Thylane’s eyes widened, and she stopped mid-step, freezing in the doorway. You motioned gently for her to come closer to you, and she padded over quietly, looking up at you expectantly.

“Is Papa awake yet?” She whispered, voice barely more than a breath.

The eagerness in her tone made your heart swell, and you could not help but lean down, kissing her lightly on the forehead.

“No, mon amour,” you whispered back, brushing a stray lock of hair from her face. “Papa had a very late night with Uncle Max. He needs his sleep, let’s let him rest a little longer, hm?”

Thylane nodded, her expression brightening at the thought of what you had in mind. “But it’s Papa’s birthday! I want to say happy birthday to him!”

“I know, my love. But how about we go to the kitchen, just you and me, and make a special birthday breakfast for Papa? Then we can surprise him together when he wakes up, and…” you paused, heart fluttering as you thought about the special surprise you had planned, one that you had kept to yourself until today. “And there’s something very exciting we’ll be giving him. Something you’re going to help me with, too.”

Her eyes lit up, and she bounced on her toes, already whispering with excitement. “What is it, Mama?”

“You’ll see, mon petit trésor,” you murmured with a soft smile. “It’s a surprise just as much for you as it is for your Papa. Now, come on.”

You grabbed your silk robe by the vanity chair and put it on. Taking Thylane’s little hand in yours, you casted a quick glance back at Lando. You leaned over, placing a gentle kiss on his forehead, lingering just a moment. The warmth of his skin was comforting, and for a heartbeat, you just admired the peaceful look on his face, hoping he would carry that warmth with him when he awoke to find you both by his side. Then you carefully lifted Thylane into your arms to keep her quiet and avoid the soft creaks of the floorboards as you slipped out of the room together.

You and Thylane moved quietly into the kitchen, both of you filled with anticipation. The kitchen was softly lit by the morning sun, casting a warm glow over the countertops as you gathered everything you needed for Lando’s birthday breakfast, with Thylane already clutching the whisk with her small hands, her tongue poking out in concentration as she tried her best to mix the batter for the pancakes.

“Like this, Mama?” She asked, glancing up at you, her face bright with determination.

“Oui, parfait, mon ange,” you replied, ruffling her hair lightly. “Now, tu peux ajouter les blueberries. Add the blueberries, like this.” You handed her a small bowl of plump blueberries, showing her how to fold them gently into the batter.

She followed your instructions very carefully, not wanting to ruin Lando’s surprise, her little fingers pushing each blueberry into the mix with care, her eyes darting to you every so often to check if she was doing it right.

“Is Papa going to love it?” She whispered.

You leaned down, pressing a gentle kiss to her forehead. “Of course Papa’s going to love it because you made it for him,” you assured her, watching her face break into a wide grin. “Now, pass me the flour, please—la farine. Careful, don’t spill.”

With both hands, Thylane picked up the small bag of flour and brought it over, the look of focus never leaving her face. She had switched to a more serious demeanor, taking her role as your little sous-chef very seriously.

“Here, Mama!” She said proudly, handing it to you as if it were the most delicate thing in the world.

“Merci, mon trésor,” you replied, taking the flour and measuring out the right amount for the batter. “Okay, now you can stir again, doucement, like this.” You demonstrated, letting her hands follow yours as you guided her through the gentle motions.

When the pancakes were stacked high on a plate, topped with fresh berries and a drizzle of maple syrup, you and Thylane both stood back, admiring your creation.

“Look at what we made together,” you said softly, squeezing Thylane’s shoulder. “Papa will be very happy.”

Thylane clapped her hands excitedly, bouncing on her toes. “Can we give it to him now?”

“Not yet,” you shook your head, a smile forming on your lips. “There’s one more surprise we need to get ready.”

Walking over to the drawer, you retrieved the small acrylic box, some soft cloth, and your carefully wrapped pregnancy test. Thylane’s brows furrowed as she watched you, her head tilting with curiosity.

“What’s that, Mama?” She asked, peering closely at the box as you placed the soft cloth inside.

“This, my love, is a very special surprise for Papa,” you knelt down so that you were eye-level with her, placing the test in the box atop the folded cloth. “Do you remember how you told me you wanted to have a little brother or sister?”

Thylane’s eyes sparkled, and she nodded eagerly. “Yes! Yes! Does this mean…”

“Yes, Tilly. This means you’re going to be a big sister.” You smiled warmly at her.

Her face lit up, her mouth forming a perfect little “O” of excitement. “Really, Mama? I get a baby brother or sister?”

“Yes, mon trésor,” you nodded, laughing softly at her reaction. “We don’t know yet if it’s a brother or sister, but the baby is here, right inside Mama’s tummy, just a little peanut for now.”

Thylane’s eyes went wide with wonder, and she pressed her small hands to your stomach as if she was trying to feel the baby herself.

“A baby peanut!” She giggled, delight shining in her face. “Can we call the baby that for now?”

“Of course,” you chuckled, brushing her hair back. “Until we know more, we can call your little sibling, baby peanut.” She grinned, clearly enamored with the idea, and watched carefully as you tied the ribbon around the box with care.

“Can I help with the ribbon?” She asked, her hand already reaching out eagerly.

“Of course, here.” You said, guiding her hand as she carefully looped the ribbon around, tightening it with a gentle tug and finishing it off in a neat bow.

“Where should we put it, Mama?” She asked, glancing around the room.

You took a quick look at the cozy space, then pointed to a spot on the kitchen counter, just out of Lando’s immediate line of sight.

“Right here,” you decided, setting the box down gently. “That way, Papa won’t see it right away.”

Thylane nodded, grinning widely. “I can’t wait to see Papa’s reaction!”

With breakfast prepared and the surprise box tucked safely out of sight, you and Thylane made your way back to the bedroom, eager to wake up the birthday boy. By now, the sun had fully risen, casting a warm glow across the room as you nudged the door open to your and Lando’s bedroom. You expected to see Lando still sleeping peacefully, but instead, he was already awake, propped up on pillows with his phone in his hand, scrolling with a sleepy smile on his face.

Before you could say anything, Thylane let out a squeal of excitement and sprinted towards the bed, practically launching herself onto him. Lando barely had time to react before she pounced, wrapping her arms around his neck and showering Lando’s face with small kisses.

“Happy birthday, Papa! Happy birthday! Happy birthday!” She chanted, each word punctuated with a giggling kiss to Lando’s cheeks, forehead, and nose. Lando can’t help but laugh, his eyes crinkling with joy as he pulled her close, enveloping her in a warm hug.

“Thank you, Tilly!” He replied, chuckling as he looked up at her. “I don’t think I’ve ever had such a special wake-up call on my birthday before.”

She nodded enthusiastically, her face flushed with pride. “I made you a biiiiig birthday card last night! It’s pink, and has lots of hearts and sparkles on it, and I even drew a race car!”

“Woah, a race car? Just for me? Now that is one special card,” he said, brushing a few stray curls behind her ear as he smiled up at her. “I can’t wait to see it. I bet it’s the best card in the whole world.”

Giggling, Thylane seated herself on top of his stomach, her little hands resting on his chest as she looked down at Lando with pure adoration. You leaned against the doorway, laughing at the sweet sight in front of you before walking over to the bed and settling down beside Lando.

“Good morning,” he murmured, his voice thick with sleep, but laced with affection. “I’m so happy that I get to spend my birthday with my favorite girls.”

You leaned in, brushing your lips softly against his. “Good morning, birthday boy,” you whispered, smiling against his lips before pulling back just slightly. “Happy birthday, my love.”

Lando grinned, puckering his lips again, silently asking for another kiss. Laughing, you leaned down, giving him another soft kiss, feeling his hand come up to gently cup your cheek. In that moment, it was just the three of you, wrapped in warmth and love, as if nothing else in the world existed. As you pulled back, Thylane let out a little giggle, pointing at the two of you with a mischievous grin.

“Ew, Mama and Papa!” She teased, though her face betrayed nothing but happiness.

Lando laughed, reaching over to ruffle her hair. “Hey, I deserve a birthday kiss, don’t I?”

“Papa! Mama and I made you a special breakfast!” She announced, clapping her hands. “We worked really, really hard. I even put the blueberries in all by myself!”

“No way! You mean to tell me you were my chef this morning, too?” Lando ticked her side, making her dissolve into giggles.

Thylane laughed, wiggling under his tickling fingers. “Yes, I’m your chef today! Mama showed me how to make everything.”

“Well, now I definitely have to see what my two favorite girls cooked up,” he said, sitting up slowly.

Lando reached over, wrapping an arm around your waist as he pulled you close, then lifted Thylane into his other arm. She squealed with delight, wrapping her arms around his neck and snuggling her head against Lando’s shoulder. As the three of you made your way to the kitchen, Lando kept his arm secure around your waist, pulling you close as Thylane chattered excitedly about breakfast.

“Mama taught me how to fold in the blueberries so they wouldn’t smush!” She said proudly. “And we made a big stack of pancakes with syrup and blueberries and…oh! And I even helped tie a bow for your present!”

Lando gave you a curious look over Thylane’s shoulder. “A present, huh?” He asked, raising an eyebrow with a grin. “I’m starting to think you two were up to a lot more than just breakfast this morning.”

“Hm, maybe we were,” you replied, smiling playfully as you reached up to brush a strand of his hair back. “But you’ll have to be patient to find out.”

He chuckled, squeezing your waist. “Well, I don’t know how much patience I have today. I mean, it is my birthday.”

Laughing, you reached up to plant a kiss on his cheek. “Good things come to those who wait, birthday boy.”

The three of you entered the kitchen, where the table was set with the special breakfast you and Thylane had made. Lando’s eyes sparkled as he took it all in, and Thylane beamed with pride, practically bouncing in his arms.

“Happy birthday, Papa!” She exclaimed one last time, her voice full of love and excitement, her little arms squeezing him tightly.

With Lando’s arm around you, and Thylane hugging him with all her might, it was clear to you that this birthday morning could not have started off any sweeter.

Breakfast was a cozy, peaceful affair, the three of you wrapped in the simplicity of the morning. You and Lando chatted about plans for his birthday dinner later, throwing around ideas and laughing at each other’s jokes, while Thylane happily watched her favorite show on her iPad, humming along with the familiar theme song of Little Einsteins. It was a gentle scene, just the three of you? Sharing a quiet, joyful space as the morning sun spilled across the table.

Lando seemed perfectly content, caught up in the warmth of the moment. He had almost forgotten about the small gift waiting for him, tucked away in the kitchen—until you stood up, brushing a gentle hand across his shoulder.

“Wait here for a sec,” you said softly, a hint of excitement in your voice. “Tilly, come help me with something for Papa.”

Thylane’s face lit up as she hopped down from her chair, glancing at you with a secretive smile. She knew exactly what was coming next. Taking her hand, you led her back into the kitchen, glancing over your shoulder to see Lando watching you both with a look of fond curiosity. He seemed completely oblivious to what was coming.

You reached into the cozy corner of the counter, pulling out the small, acrylic box you had hidden away with so much care. Inside, carefully wrapped in a soft cloth, was the positive pregnancy test. You knelt down, handing the box to Thylane, who held it carefully with wide, shining eyes.

“Okay, mon ange,” you whispered, giving her a gentle smile. “Give this to Papa, and make sure he opens it.”

She nodded, taking the box in her hands as if it were a treasure. Together, you walked back to the dining area, where Lando was watching you both with growing curiosity.

“What’s this?” He asked, raising an eyebrow with a playful grin.

Thylane held out the box, her excitement barely contained. Lando took the acrylic box, glancing from her to you, a mixture of awe and confusion on his face.

You smiled, wrapping an arm around his shoulder, leaning close. “Go on,” you said, voice soft with anticipation. “Open it.”

“Open it, Papa! Open it!” She echoed, bouncing slightly on her toes, her face brimming with excitement.

Lando carefully untied the delicate ribbon that Thylane had helped you with that morning, his fingers moving slowly as if savoring the moment. The box felt light in his hands, and his expression shifted from curiosity to wonder as he lifted the lid, pulling away the cloth inside. The instant he saw the test, his eyes widened, and Lando looked up at you with a mixture of disbelief and joy.

“Is this…” he stammered, his voice barely more than a whisper, as though he was afraid he might shatter the moment. “Is this real? Is this for real?”

You nodded, unable to contain your own smile as you squeezed his shoulder. “Yes, love. It is real.” You watched his face light up as the reality of it washed over him.

“Happy birthday, my love.” You added softly, feeling your own heart swell with happiness.

Lando did not hesitate. He stood up, pulling you into a tight embrace, arms wrapping around you as he lifted you off of your feet, twirling you in a gentle circle. His laugh was warm and filled with immense happiness so pure that it brought tears to your eyes.

“After all this time,” he murmured, voice thick with emotions as he pressed a kiss to your cheek. “We’re really going to have another baby?” You nodded, laughing through your tears.

“I found out a few weeks ago, when you were in Mexico. I wanted to wait until today to tell you.” You placed a hand on his cheeks, gazing up at him with all the love you had been holding back for weeks. “It took everything in me not to tell you the moment I found out.”

He kissed you softly, his forehead pressing against yours as he whispered. “Thank you for waiting, love. This…this is literally the best birthday gift I’ve ever had.”

“Papa, did you see? It’s real!” She said, beaming and clapping her hand, while bouncing in happiness. “I’m going to have a baby brother or sister! I told Mama I want to call them baby peanut!”

“Baby peanut, huh?” Lando chuckled, bending down to lift Thylane into his arms, bringing her close to the two of you. Kissing her forehead, and looking at you with a grin. “I think that’s a perfect name, for now.”

“Papa, can we tell everyone? All our friends?” Thylane’s face lit up at the thought, and she looked back and forth between you and Lando.

“Soon, Tilly. But for now, let’s keep it our little secret, okay? Just between us.” He leaned down, dropping his voice to a conspiratorial whisper. “That way, we can keep baby peanut all to ourselves a little longer.”

“Our little secret!” She nodded seriously, her eyes wide as she held her finger to her lips. “I’m really good at secrets, Papa. I won’t tell anyone!”

You all just stood there, basking in the warmth and happiness of the quiet moment, Lando had never felt a new kind of peace settle over him. This was everything he had ever wanted, everything he had ever dreamed of. A family, life filled with love and laughter, and now, another little one on the way.

Lando let Thylane down, letting her run towards the living room to play with her toys. He reached out, threading his fingers through yours and giving your hand a gentle squeeze, and kissing it softly.

“Thank you,” he whispered, his voice breaking a little bit. “For this, for everything. You’ve given me the greatest gift of all.”

You squeezed his hand back, your own eyes shining with emotion. “I love you,” you murmured. “Happiest birthday, my love.”

As Lando held you closely, he realized that this was a happiness beyond anything he could have ever imagined.

[olderthannetfic]

I have conflicted feelings about the whole "copeganda" thing. On the one hand of course police procedurals have problems, portray cops of the good guys, etc. show rule breaking to get the "bad guy" as valid. i do see the problem there.

But on the other hand it feels like anti logic to say "you enjoyed x tv show so clearly you condone real world atrocities, you horrible person." And then you see people claiming that sam vimes or ACD Sherlock holmes are copeganda. or that fans watching a show where their fav actor plays a police officer are clearly racist. Or that all little kids who like paw patrol are somehow suspect or corrupted. And I worry we've lost the plot to another x media / depicting x is unredeemable crusade rather than trying to be mindful of the biases and messages in media.

Idk. Thoughts?

--

Copaganda is dangerous because it's a staple of CBS prime time et al. It tends to do things like make Internal Affairs evil in all cases. Even when you get the rare IA character who was arguably good for like 6 seasons or something, they'll still go evil for drama late in a show's run. (CSI: Miami, I'm looking at you.)

This is media with a massive reach that almost always reinforces a host of already extremely common social values, so it's going to be extra impactful relative to something like House of the Dragon incest.

We had some discussion here in the past about the measurable real world effect of B99 on people's opinions of the real NYPD. I'm much more willing to entertain people's fears about media when there are measurable effects and the audience size is large. I don't think we should ban cop shows, but there's a reason I like Miami Vice so much: it's noir, so everyone is horrible, including the authorities. While it was still extremely establishment-y, it managed to question the system a lot more than most of these simply by virtue of being a much darker show.

Mystery genre of various types isn't going away. It's a genre that really is copeganda: It's about social order being restored and making the world make sense.

We can be aware of some of the more insidious messages and push back against them though. It's like the torture thing: a lot of media wants to argue about whether the ends justify the means, but that whole complex philosophical can of worms is irrelevant since torture doesn't produce useful results in the first place.

Copaganda tends to not only make cops seem cool but portray villains stereotypically, demonize the important work of investigating cops themselves, justify police brutality, etc. There are a lot of specific problems that do not have to exist in media about cops solving mysteries. These are choices that mainstream US tv is making.

--

One thing I will say though... Mystery as a genre, including the worst of US cop shows, has often been far ahead of sff in diversity and even exploring contentious social topics. Geeks tend to think sff is so ahead of its time, but it's often pretty stick-in-the-mud compared to crime stuff. (Cue all the individual examples where it's the opposite way. Haha.)

[mellxncollie]

hiiii alex and now i have no choice but to drop all the process info and the outtakes :)

overall impression: very lovely and moody and spooky!! i kinda expected more blood-reds from devlin house but i should've known better, you wouldn't go for something that cliché. as always the shots you chose are SO good, love the combo of very dramatic shots with way more subtle ones!

aaaaa okay okay yes definitely not a lot of 'expected' shots in this one. couple reasons for this:

episode 3 is not one that i can watch very much, there's too many triggers in there for me. it's only very recently that i'm now able to rewatch it in its entirety, and i still have a hard time screencapping for it. so... not too many gifs from inside the devlin house

not a lot of shots in these episode work well for these palette sets. unlike all the other episodes, this one does not have many establishing shots or wide shots, which are the ones i like to use for these gifs. of the few establishing shots that are used, many are relatively static, so they don't look great as gifs. plus a lot of the devlin house shots have flashing lights and/or are very short. this made it really difficult to just find scenes that would work

so, this is a little less of a cohesive set than the other two, and i think the rest of the episodes will have more cohesive palette sets than this one as well. i love how this episode is shot, cheryl dunye's avoidance of 'filler' shots really reminds me of her film the watermelon woman, and while that movie does have more wide shots and more cohesive colors, the focus in on the characters as opposed to the backgrounds is what makes this episode feel so much like her work. it really drives home this episode as a standout in terms of writing, visuals, and direction.

it just also... breaks out of a form that i rely on to make these gifs work. so: less cohesive colors. i'm glad that this didn't exactly come across, and that we still have a kind of moody vibe :)

gif 1: cindy my beloved!! oh my god i need to see edwin laughing like that. i need CHARLES to see edwin laughing like that! and niko is so precious, i love her and her green coat. speaking of! love the way she moves past the colour blocks and almost adds contrast to them until she reaches the green and basically blends in?? SUCH a cool effect. and i love the colours themselves, the green + goldish vibe is everything. the green in the shot is so dramatic that it's like a fun little puzzle to find the rest of the colours! and then you realise, oh wait, that's the majority of the picture. ceiling, chairs, cabinet, niko and cindy's hair. and cindy being represented by the colour palette, drawing her undeniably into the picture because she can actually be seen by everyone around her, the opposite of ghostly, is SO cool. and then the contrast of the bright (blueish?) white?? the way it contrasts so much with niko's coat that at first i couldn't see where you got it from, only when niko moves back it blends perfectly into the window in the background?? olly you are a GENIUS

honestly i didn't really realize how this looks with niko's movement adjusting how the green and the blue all suddenly mix in with the rest of the gif!! but you're right, it's very cool!

this gif was a bit of a challenge, and with all those browns i initially thought it might be on the chopping block. but then i came around to liking it enough to make it the first gif in the set.

here's a before/after of the colors i put on it, and you can see that the blue is basically not even in the original shot, and it was only after i adjusted the blue channel to decrease that yellow tint that the blue really showed up.

gif 2: JENNY JENNY JENNY! this is a wild one because it's such a mundane part of the scene and yet i can't stop looking at the dramatic colouring. SHE!!! also the colours you chose feel very similar to the jenny gif from ep1, which, to be clear, i mean SO positively. i love that it ties them together! also something something jenny in her black clothes being surrounded by so much colour as symbolism to what crystal and niko bring to her life. brb crying

out of all the gifs in this set, this is definitely one of my favorites. mostly just cause the shot is really cool, nothing to do with the colors or anything. but speaking of the colors!! yes they're a lot like the ep 1 gif, and it's so fascinating to me how they pack so many hues into jenny's shop via the lighting.

gif 3: HI SPOOKY SHOT OF ALL TIME 😍😍😍 one of those dramatic ones i NEVER want to look away from. loveeeeeee the red-orange reflections on them, the purple of crystal's coat, the blue of edwin's shirt. also getting into the symbolism again but the way most of the colours are drawn from crystal and the background (even the blue is present in her grey shirt/jacket/whatever that is) and it makes the boys feel even more ghostly. ESPECIALLY CHARLES?? WHO ONLY RECEIVES RED BACKLIGHTING?? AND SPENDS THE EP GRAPPLING WITH HIS OWN HELPLESSNESS?? THE ONLY ONE UNTOUCHED BY BLUE (AKA SYMBOLIC OF HEAVEN)?? I'M MAKING MYSELF SICK WITH THIS OH GOD

yipeee!! one of my favorite shots of this episode, but one of my least favorite shots in the whole series to gif (that i've been making gifs of more and more to force myself to figure out how to do it best) and honestly because of that, i wasn't sure if this would make the final cut either.

here's two recent(ish) uses of this scene in various gifsets, both of which i don't really like how the final gif turned out.

this is because the original shot is....

so aggressively blue/green on their faces and that it is very difficult to make this look good.

i wanted the final gif for this set to be a bit more orange and a bit less red, but i'm glad i kept the more red toned backlight, since that allowed gif 8 to feel different enough. and i'm actually pretty okay with how this one turned out, espeically because you get the purple and the blues in their costumes.

also, just for fun, here's what this gif would look like if i did some normal brightening and coloring, but didn't do anything to fix their skintones 🫠

and yeah. god. thinking about charles 'untouched by blue.' fuck.

gif 4: SUCH a lovely little shot! the blues from edwin's outfit, the greenish-gray i'm guessing from the stripes (very nice and subtle, love the choice to emphasise them!), the white from his shirt. and then BAM, gold for the bracelet of homosexuality. but even then it's a very subtle colour choice for it, i can see some of the background is the same colour, even the darker parts of edwin's shirt cuffs. it's like you, via the palette, are helping him hide the bracelet and. i'm just in love

one of my favorite gifs in this set! it is really fun, and you got all the color sources right! i did want to include another color from the bracelet, but most of the colors i was sampling just didn't look too good with the blues, so i used the white from his shirt and i think that really worked.

gif 5: monty!! the return of niko's green coat!! love the cool (ha!) colours, mixed in with the warmer browns. the blue is so subtle in monty's plaid shirt (and the port townsend sign if i'm not mistaken?) the brown/burgundy in monty's scarf and shirt and the trees in the background really draws it all together! plus the green in both niko's coat and the trees' leaves! also interesting to see here the colours you didn't choose for the palette, like the white of niko's hair and monty's books. not to get too deep into it but it feels like a sign that it's not niko monty's trying to connect to, even though edwin isn't even in the frame! and the darker brown feels sort of similar to edwin's coat but that might just be grasping at straws lmao

the blue is from monty's shirt, yeah! this one was hard to pick colors for, and you totally got it with all the colors i'm leaving out. also because of the 540px x 500px frame size, we're also leaving out edwin from this shot. so maybe there's something there too about leaving out colors. (and now that i'm looking at it again, i do think that off-white would have been a great way to tie this palette together)

gif 6: OH DEVLIN HOUSE WE'RE REALLY IN IT NOW. obsessed with the way you subverted expectations with the devlin house being so blue and monotone, vs how we tend to read it as this dramatic high-stakes situation with so much blood spilled. again with the symbolism but it feels like it speaks so much more to the nature of the thirty-year (!!!) loop and how to the victims of it it's not dramatic but just the same cycle they can't get out of. over and over and over. and crystal and charles' expressions in this one OUGH. crystal trying immediately to find a way to help, to free these women, and charles is seeing his worst nightmare and trying desperately to suppress it. again, charles' helplessness represented by none of his colours making it onto the palette, even though his shirt is still pretty red. his hero colour is represented only as its worst in this house

i wanted at least one mostly monotone gif in this set, and the devlin house is predominantly teal and yellow, so it's such a strong contender for a monotone shot. problem with the yellows is that they're hard to make look good if there's a person in frame, so blues it was! i had a lot of blue shots to choose from, because every time the loop resets the power cuts and they're plunged into darkness. and i think there's something really symbolic there for charles (oh and now i'm thinking about the way that he drops into the water in the next episode when the night nurse forces the flashback)

and yeah, the first two colors are sampled from crystal's clothes, and the final three are from the wall. and now that i think of it, none of these palettes use colors sampled from charles/his clothes, despite this being really his episode. makes me think about what you said for the tube gif in the ep 1 set, how not sampling from them makes them more of a ghost in their own gif. anywayyyysssssssss

gif 7: can i just say. obsessed with the parallels of the last two gifs, showing the pre- and post-devlin house feelings? at first i thought this one was from the end of ep3, after gif 8, but just from seeing charles and crystal's interaction it's obviously not OUGH. love the wide shot of them (and the cinematography lessons!! the focus falloff at the top. i am Looking), the greens of the trees and the brown of the leaves and the purple of crystal's coat (ooh and the sign!). some of the purple even seems to come across in charles' jacket! and the blue of the statue also being in edwin and charles' socks and crystal's shirt. it ties them all together in a way that contrasts so much with the effect devlin house has in breaking them apart. forever emotional about ittttt

so this one is actually post-devlin house. it's right as charles says he's fine and right before niko shows up. it's the last gif in this set chronologically, but i don't really go by chonological order in these sets, since i want the first and last gifs to be strong, and i don't want any two palettes side-by-side to feel too similar.

i am now thinking about how charles and crystal's interaction in here realllllyyyyy doesn't feel like post-devlin house.

anyway. colors. yeah. that purple being the same in crystal's coat and the sign was such a blessing. and every time i throw a surprise blue in to these palettes i think of you. it definitely is the bit that pulls this palette together.

(yes i was also thinking about the focus falloff here, it is soooo wildly intense in this shot)

gif 8: AND FINAL SHOT. devlin house is over (or is it??) the colours nearly blending in with the background and then contrasted against charles' coat. i'd say SYMBOLISM but i'm sure you're sick of hearing it by now lmaooo. the bright lights in the background are SO striking. and the green??? the way it reflects so dramatically against the orange specifically on edwin's face??? i know that's not death's light shining on them but it sure is interesting how often edwin is the one bathed in that colour of light.......... also this might be a reach but the way crystal's jacket/hoodie/whatever seems to be a similar shade of green-grey, tying her and edwin together as having found common ground in the devlin house, vs charles again being the least represented by the colour palette -- devlin house might be over but he still feels helpless. i'm sure nothing bad will come of that!

the first 10ish frames of this gif are some of my favorites in this entire episode. i just love how this shot looks, and if it was a bit longer, i wouldn't have even had them running into frame. but that little bit of the trio that we do get is so interesting to get to hear you talk about. because i was not paying attention to how they blend in (or don't) to the palette.

--

so. what about the outtakes? first we have this one:

really like this shot. couldn't figure out the palette. i wanted some of that green from the interior wall of the attic space, but it doesn't sample as very green (yay for color theory!) and the few pixels that do sample as green do not look very good next to the rest of the colors.

here's the other outtake gif:

now that i'm looking back at the whole set, i think this one would have been a really good addition to make the whole set feel more cohesive, but i'm not sure which gif i would have cut instead to keep it at 8, so that's probably why i cut it in the first place. this one is kind of fun since the green is not from niko at all, but from the grass below. i initially made this gif with a monochrome palette, but right before i exported it, i noticed just how much green is in there, and decided to use some of it. glad i did, and i am really happy with this gif.

i'd say i can never be normal about this but you already know that. love this, love you, thank you forever for blessing us with your gorgeous gifs!!!

i'm so glad that you can't be normal about these because i also can't be normal about making gifs and i love that i get the opportunity to do this kind of breakdown for them. thank you thank you thank you alex. you're wonderful!!

Dead Boy Detectives (2024) 1.03 — The Case of the Devlin House (insp)

[monstermag]

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[h50europe]

BUCK / TOMMY - HELL HATH NO FURY LIKE A FANDOM SCORNED!

I did some thinking. Never good, but my brain can't wrap around the breakup that came out of the left field.

Recently, it was announced that a spin-off of "9-1-1" is in the works. While no locations have been finalized, Hawaii and Las Vegas have been suggested as potential settings. The showrunner is already working on the project, with filming set to begin in March 2025.

However, one of my biggest fears has come true: the focus of the showrunners is being diverted from the current show to concentrate on this new spin-off. All the energy runs in the new project. Also, at this point, we don't know if the mothership will be renewed. Without an early renewal, we must wait until May for the announcement. That is another reason why they are focusing on the new show. I wonder if this is why the plots feel rushed and repetitive. It's nice to revisit the past, but not ad nauseam. 9-1-1 does it too often lately. What's the point in bringing back Gerard and turning him into the butt end of a joke? What's the point in digging out Abby's Tommy and hanging it around Tommy Kinard's neck when nothing was ever mentioned in the past. The focus is clearly not on the current show. It feels like Tim abandoned the ship to board a new one. It's fresh, it's crisp, it leaves room for a lot of things. Even if the breakup was meant as a shocker. If your focus is somewhere else, you don't see it. Right now, the mothership is leaking and starting to sink. If Tim keeps his focus on the new project and isn't invested in the current show, the lights will go out sooner rather than later.

Bringing in an established character was probably the biggest mistake Tim could have made if he wasn't meant to stick around. Bring in Mary Sue or Marty Stu to be a LI but not a character with a history that connects to so many people on the show. You can't sideline them forever. Especially as Buck's bi-arc was announced as something big. And it was big. A bit too big to be treated the way it was. The fanbase that had built around TEVAN, or BUCKTOMMY, within weeks, was massive. It drew so many members of the queer community into the show. Suddenly, many of them felt seen. Tommy and Buck were different from the other queer characters out there. Different from what was represented on any other show. People were willing to watch to get the slightest glimpse of them. Because they felt real. Their chemistry shot into the stratosphere.

And then you go and end it on such a horrible note? I don't care if the haters call Tommy a plot device. Everyone on the show is one at some point—even Christopher, Eddie, or anyone else from the main or recurrent cast, Karen, for instance, the Wilson kids. You name it. Tommy Kinard came, saw and conquered. So why not give him more room? They did it with Taylor (yes, I know JLH was pregnant then, but that's reason enough? I doubt it). As I said in my other long post, you could cut in a sequence of 5 minutes and show a summary of Tommy's and Buck's life.

Tim makes the same mistake as many showrunners do. Cramming a shitload of plots into 42 minutes of airtime. Is it really necessary to tell that many stories in such a short amount of time? That feels like speed dating. You blink, and you miss an important scene. Every episode, you jump from plot A to B to A to C to B. We didn't have this fast pacing in season 1 or 2. Stop it. Make Quality plots over quantity stuff.

In Tommy's voice: And for God's sake, clean up that mess you created with that shitty breakup, or the audience will wither away.

I'm sorry. I could write a book about what is happening in my head. You'd get Super Brownie points if you made it here.

[felassan]

Foreword to the Dragon Age: The Veilguard art book.

Text version:

“FOREWORD Dragon Age: The Veilguard was a special project, and so it requires a special art book. More concept art was made for Veilguard than the rest of the Dragon Age series combined (and very likely the Mass Effect trilogy as well). This is one of the surprising advantages of being in some state of development for nearly a decade. To organize this huge collection – and to bring you along on the twists and turns of our journey – we have divided the book into three major eras: post-Inquisition, Joplin, and Veilguard. The post-Inquisition stage includes the earliest work we did from before Inquisition was even out the door until the official sequel was given the code name “Joplin”. This was meant to be the direct sequel, and much of what was planned out during the Joplin years remained relevant to the end. After Joplin was halted to shift the focus to Mass Effect: Andromeda, the project changed course and was given the code name “Morrison”. This live-service version of the game eventually pivoted back to being a single-player experience. Each of these stages had different design requirements, but because we didn’t start from scratch, we had the advantage of building on previous work. Our goal was to create a Dragon Age game that was respectful to the world the fans of the series knew and also a refreshing and exciting addition. We also knew that we were going to realize parts of Thedas that had only been hinted at in previous games. It’s one thing to imagine the Tevinter Imperium; it’s another thing to walk down the streets yourself. Whatever we designed, we tried to stay true to the established lore while also attempting to exceed expectations. Each region was given its own design language and recognizable motifs to try and make sure that every location, character, prop, etc., fit into its placed and helped to create a rich and enticing world for players to immerse themselves in. One artist can make a painting, but it takes a huge team to build a cathedral, something no single person could achieve on their own. While a colossal amount of creativety goes into video games, they are a lot more like cathedrals than paintings. They require years of cooperation between many disciplines, from animation to writing to audio to many, many more. In many ways, we see the final game as the completed work of art: the finished cathedral. Art books like this one are the perfect opportunity to showcase what you don’t see in the finished product: the inspiration, the blueprints, the unused drafts. We barked up a lot of wrong trees. We explored some wild directions – some ending in dead ends, others ending in precious treasure. We also created a lot of material that we liked but didn’t have the capacity to build (in this game, anyway). We decided to cram as much art as we reasonably could into these pages. Maybe one day we’ll be able to make the eighty-pound edition, but until then, we sincerely hope you enjoy this glimpse at the art behind the art. Matt Rhodes Art Director”

[pmamtraveller]

JOHN COLLIER - LADY GODIVA, 1898

The artwork portrays the iconic character of Lady Godiva, the 11th-century aristocrat renowned for her rebellion against her husband's harsh tax burdens on the people of Coventry. As per legend, she galloped unclothed through the streets of Coventry, shielded only by her flowing hair, to obtain a reduction of the severe taxes. Her bravery and empathy have established her as a lasting emblem of civic integrity and social equity.

In the artwork, Godiva is depicted in profile; looking to the left. The horse is white adorned with red decorations, featuring an embroidered red fabric that covers its body, leaving only its head, neck, and front leg exposed. In the background and to the right of Lady Godiva, Norman architecture is visible. In this piece, Collier portrays her as a young, timid, delicate woman perched on her horse (the only known Godiva painting to show her sitting this way).

During the period when the painting was made, Collier was experiencing notable personal and career transitions. His first wife, Marian Huxley, passed away in 1887, prompting him to wed her sister Ethel in 1889, a marriage that faced legal complications because the Deceased Wife's Sister's Marriage Act wasn't enacted until 1907. In his career, he was making a name for himself as a notable portrait artist and was earning acclaim for his historical and mythological subjects, such as this artwork.

Though the artwork was praised for its aesthetic appeal and vibrant hues, the depiction of nudity ignited debate during the conservative Victorian period. As time progressed, it evolved into an important element of Coventry's cultural legacy, embodying both the tale of Lady Godiva and the ethical intricacies of its era. Today, it is recognized as one of Collier's most important works, housed in the Herbert Art Gallery and Museum.

[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.

[madlori]

The more I think about it the more I think they just shot themselves in the foot.

Like I totally buy that it was their plan all along: bring up the male LI for a couple of episodes to establish biBuck and on to the next one.

What I think they didn’t expect for is for it to work that damn well. For Lou/Tommy to have such insane chemistry (911 I beg you, please, start doing chemistry reads) with Oliver and Ryan. For him to work so well with the narrative. To solve 99% problems of Buck’s previous LIs. And they started to milk that shit.

Combine it with the fact that for the past 2 seasons the show began to stagnate and is in dire need of new storylines and tropes.

But the decision have been made, money paid.

Whether thy pivot only time will tell. But one thing is sure: they missed a huuuuge opportunity and given that’s it’s in 8th season they probably won’t find another character that works that well.

I agree, and I really think finding another partner for Buck who ticks all the boxes that Tommy ticked is going to be very difficult.

It's frustrating to remember Tim talking about choosing Tommy because of his integration into the show, his friendship with Eddie, and how well it would support him being a love interest...but only for now? That makes no sense to me as a writer. It's only that which gives me even the tiniest delulu hope that it isn't over. <shrug>

[louisferrignojr]

*deep breath*

the thing is. the fucking thing is.

it's not unrealistic for someone to not dig deeper into their queer identity beyond what they know to be true, which might be "yeah i might be attracted to people of the same gender but i dont have time to get into that right now 'cause life is complicated and i'm in a relationship/i'm not interested in dating right now anyway so what does it matter"

(same goes for figuring out your gender identity. exhibit A:

[image description: a tweet by shaka (@/ScaredAsian) that says, “im probably nonbinary but i have a job so idrc about that rn”. In plain text, it says, “I’m probably nonbinary but I have a job so I don’t really care about that right now.” /end id])

but this doesn't work for evan buckley

who had his little freakout on his first date with tommy and went to talk to his sister who literally told him "now you're more than an ally" and that maybe he's not sure of his feelings but he'll figure them out. (sidenote: she should have said identity instead of feelings. but whatever.)

who has been in a relationship with his boyfriend for six months

who has been known to go on research binges because he has a curious mind and loves learning. tommy's sarcastic "oh good, you found a substack" tells us everything we need to know, y'all.

who has at least one very close queer friend and co-worker, hen fucking wilson; and one friend/acquaintance who is a queer man (we don't know how much he sees josh outside of visiting maddie at dispatch, and like, that one time he hang out with him and maddie and chimney, so it's a little bit up to fanon to decide if they're friend-friends but at the end of the day it is a trusted person and an openly gay man. i mean, we saw how josh stood up for tommy, and schooled the fuck out of buck. finally, a conversation about being queer between two canonically queer characters! only took 8 seasons, huh! i digress.)

and have i mentioned he's been dating his boyfriend for six months? like, if he was ever to have a conversation about being queer... tommy is right there. tommy opened up about his own experience figuring out his sexuality and coming out on their very first date and moreover reassured buck it's okay if he's feeling a little tense about them being out on a date in a public place.

point being: there are people in his life who would be more than happy to talk to him about his newfound identity outside of his relationship with tommy.

taking all of these things into consideration: it's not only inconsistent with the character they have established, but the timeline of it is also really fucking messed up.

and more than that: any faith i may have had in this show to handle a delicate matter like a character exploring their newfound sexuality has flown out the window. they broke the audience's trust with 8x06. i'm not interested in seeing how they're going to move this story forward, because 8x06 was such a particular fuck up, beginning to end, wrt the bucktommy storyline.

and honestly? knowing the format 911 follows, as a network procedural: this is not the right medium to tell this story, at this point in the timeline, because it has become way more complicated than it would have been in s7, immediately following buck's bisexual awakening.

tldr: the premise is sound but the execution is so bad it's practically unsalvageable within the scope of the show (but very manageable in fanfiction, where you can dwell in the character's headspace and dig into what goes on beyond the things they say and do. godspeed, everyone <3)

partly inspired by @firehose118's tags on their post and partly like, being queer. source: dude trust me

[what-eats-owls]

It matters how you do it

I finished Dragon Age: The Veilguard and had some big feelings about it. Spoilers for basically everything under the cut, and frankly, it won't make sense unless you've finished the game anyway.

First of all: I had a blast with this game. I didn't find Act 1 slow, I did find Act 2 a bit of a whack-a-mole, and then Act 3 kicks you in the kidney (complementary) while insisting it's for your own good.

I've seen some recurring complaints: that it lacks depth/edge/darkness, that it abandons previous lore, that the previous choices don't matter. I don't entirely disagree. To me, it felt like a massive Dragon Age 4 game that pivoted to a different, tighter game after complaints about bloat in Inquisition. The key is that when editing down, there's such a thing as trying to trim the fat and taking a chunk of the roast with it.

I enjoy the concept of Lucanis's character, and the voice actor sold the hell out of him, but the storyline felt like being taken to a museum and allowed to see one (1) beautiful unfinished sculpture. Why did Spite, specifically, work? We know the spirit of Justice became Vengeance by abomination, we knew Solas was Wisdom before he became Pride, so what was Spite before, and why wasn't that tied to Lucanis's own personal arc? (Doubly so if you romance him!)

Similarly, Harding was a delight, and her greenhouse was such a lovely little haven. I would have loved to see more explanation of the connection between plants and the titans, and how Harding's own personal struggles with rage connected to that of the titans. She has every reason to be angry and scared, and the game tells us she pushed that away—but we don't actually see her toxic positivity manifest to that degree, until she abruptly has an angry clone.

On the flip side, I loved the other five character quests, and I felt they had solid, poignant arcs that delivered. I also adored their interactions with the codex—if anything, I wanted to see more of that type of interaction on the screen. You have to fill in a lot of the character work for Rook yourself; Rook has all these interesting potential backgrounds, but I think starting the game playing through those, a la Origins, would have gone miles towards establishing more personal stakes up front and made for a stronger start.

So that's all my nitpicking. But let's talk about the bigger theme: It matters how you do it.

In the first Fade conversation with Solas, he gets so mad when Rook refuses to let him DARVO them about the consequences of his botched ritual. This makes way more sense when you understand he's literally imprisoned by his own regrets, and he needs Rook to have that same kind of regret in order to take his place. His entire arc is about rationalizing binary choices and shitty actions that hurt others in the name of a hypothetical greater good that he wants.

Solas can't engineer every binary choice Rook's forced into, but he uses Varric to maximize Rook's regret. He is trying to quite literally mold Rook into him, and the game is great at presenting this both as a coldblooded manipulation and a broken plea for validation—if you let it. You don't have to give Solas a moment of consideration; you don't have to take time to view his memories, or kill his demons, or listen to those scraps of Mythal still holding onto the good in him. You don't have to do any of it.

But you can. And in the end, it matters.

It matters because for every companion, you can encourage them to either be more nurturing/compassionate or destructive/closed off versions of themselves, and that is frequently tied to continuing or breaking from a cycle. (The exception is either Neve or, presumably, Lucanis, who are forced into the Hardened version depending on which city you save.) These aren't presented as morally opposing choices, just who you want them to be. You can see how the Grey Wardens fucked up bad with griffons and decide they have a better place. You can help Emmrich face his fear by finding deeper meaning in life instead of indefinitely postponing death. You can help them do things differently.

So when you get to the final choice in the game, you may have two options: physically force Solas into saving the Veil, or trick him into it. The kind of binary choice Solas has molded you into making by pelting you with cruelty and manipulation.

Or, if you've taken the time, you can get him to understand he's wrong. You bring out the people who saw the best in him and speak to what he's had to endure, even as you're showing him there's another way. You reach him not as Pride, but as Wisdom. And he goes willingly.

Ultimately, I think DA2 and Inquisition grappled with big questions of oppression and violence, faith and authority. It makes sense for those games to delve into harder, uglier subject matter, and ask you to make binary calls.

But my read of Veilguard is that, at its core, it's about how those decisions are meant to trap you in regret at best, and numb you to rationalizing cruelty at worst. It's why the companion who loses their home city becomes colder, more isolated, in response—more like Solas.

That's why it offers you a third way at the very end, but only if you've worked for it. A better way is possible, yet it has to be more than words. You have to understand where the pain comes from, what maintains and is being maintained by the current cycle. Then, and only then, can you break it.

I can't wait to play it again.

P.S. Utterly obsessed with the Trevisan fish merchant.