#anyway i do think there is potential

[always-a-joyful-note]

Okay but you have to understand how READY I am to get a live action ORV film series. Quick disclaimer that I honestly know really little about film/visual media (and even less about East Asian media), but...

On a story level, it simply sounds like a Bad Idea. I mean, how do you translate a story about stories told through the medium of words into live action? How do you translate the way it makes sure to tell you that this story works as reality because you can't see it, because there concepts that you can really only visualise in your head through the written word?

But then again, they could go the direction of using the medium of film itself as Dokja's fourth wall. Make it seem like a cool but generic live action with subtle hints here and there that it's more than it seems. Have Dokja be hot rather than his plain and average...have fight scenes and choose which thoughts or not we get to hear. I mean, seriously...the film doesn't have to be cohesive or accurate to the book. It could literally just be the way Dokja wants you to experience his story and his narration - the film could be a depiction of his unreliable narrative. And as he and the walls begin to crack, so does the story...and maybe we'll get to see those thoughts and cracks in the beginning of the story through flashbacks rather than real time (could make the inner speech filters sound nicer but idk).

Or if it's truly just Bad(tm), it's still fun because yeah...guess who took on the role of the Star Stream and forced a story and its characters into a tale to pander to audiences simply for capital gain? (Or what if they really do make big changes to the ORV story so as to accommodate the medium of film as story? Make it so that the film itself is the Star Stream?)

And also, a last slightly less ironic and overenthusiastic observation....just that, yeah, I do wish ORV was animated instead of live action. But given that their animation industry is somewhat small, currently, and that means they might have to rely on Japanese studios, I prefer they just stick to live action. There's no telling how Japanese studios will localise Korean names/settings/history, as they've done with Solo Levelling and Raelina. Again, I have NO idea if this is a right assumption to make, so if someone knows more about it, I'm happy to be corrected.

The point is, though, that ORV live action has the potential to be spectacularly bad or good - either or. I don't think it's possible for it to be just mediocre or average and I wouldn't want it to. It's either KimCom definitely made this movie post-Dokja return to make money off their leader's stupidity or the studios will capture the essence of how stories and humans are fatefully intertwined but through the medium of film.

[kwadlayns]

talk to me in french, talk to me in spanish 🍒

[kaahmbem]

legend has it that the young witch circe and the once beautiful nymph scylla shared a complicated past...

[chi-the-idiot]

"The Homo-Sexual Underground"

Or: that one time when Harry went around Jamrock in the middle of an investigation asking anyone he thought looked like a homo-sexual about "the underground". Kim quickly grew tired of this.

[paintedcrows]

He may be a God, but I am a Scientist

[lotus-pear]

free will is drawing ur two favorite characters together and making them gay

[thatpunnyperson]

According to NBC here in the US, the missing titanic sub has been found. As debris. Off the bow of the Titanic wreckage.

And it looks like the sub suffered what we all suspected, and what was undoubtedly the more merciful of the two options: a catastrophic implosion from the pressure.

Also, more info has come to light about the fishing trawler with the hundreds of migrants that sank cataclysmically off the coast of Greece, indicating that the greek coast guard knew about the vessel AND how much trouble the vessel was in, and were towing it at a speed that made it capsize, at which point they unhooked the tow line and watched the trawler sink without helping the passengers to safety. Despite a bunch of other ships trying to help as well throughout the whole ordeal.

So a lot of people are dead, all because of regulations (and the lack thereof) regarding sea-faring vessels and rescue protocols. People shouldnt be allowed to make a business charging a ton of money for a ride on an uncertified, unsafe, un-seaworthy ship going deep into the ocean with no distress beacon or tether to the mothership. People also shouldnt be allowed to enact laws that criminalize the ferrying of refugees, which then force the refugees to hitch rides on fishing trawlers, and which also prevent people from helping those fishing trawlers full of refugees due to fear of legal consequences.

Hopefully BOTH of these events spark changes on an international scale in terms of what is legally allowed to be sailed, who is legally allowed to be the passengers, and what the rescue protocols are in the event of disaster for any seafaring vessel, illegal or not. It shouldnt be just the global 1% who get 24/7 search parties and remote-operated submersibles helping rescue them.

[lesbiansforeddiediaz]

Rule follower Eddie really makes me laugh so hard, even if you ignore the literal underground fighting ring bc he was grieving and not acting rationally Eddie has never been a rule follower in his life. He was underage drinking, he quit dance and church even though his parents didn't want him to. He was a teenage parent! He ran off to war and didn't go to college, he went to LA where he showed up and immediately was doing crazy things at work despite being technically a probie. He kicks in hotel doors when drunk. Eddie is very concerned with doing the right thing and what he considers to be his responsibilities but he is not and has never been a rule follower

[bixels]

Taking the current topic as an excuse to ask you to tell me all the reasons you love Rarijack. Your art for the ship is so sweet and intimate I'd love to hear any in depth thoughts you have.

Breathes in.

I think what makes their dynamic really strong is that they have opposing personalities but aligned values. It's deeper than just "opposites attract." Rarity's fancy, prissy, and femme while Applejack's modest, rough, and "masculine." But both value hard work (to the point of being workaholics), their families (both have guardianship over their little sisters), running successful businesses, and eventually each other. Their relationship can be boiled down to, "Despite our differences/disagreements, I still like you because we value the same things."

We see their relationship develop so much. In the first season, they can't stop bickering about surface-level differences. By season four, they still bicker, but will mend their relationship because they can't help but do nice things for each other. In Trade Ya, they start off arguing over personality differences (Applejack likes old junk and Rarity likes useless crap). Then they pivot and start arguing that they value their relationship more than the other. In the end, they mend things by sacrificing their needs and buying each other a gift. Even if they don't understand it, they know it'd make the other happy. And that's all that really matters. It's a genuinely sweet moment that shows how arguing can be healthy and necessary for relationships to strengthen.

We even see them dropping their hang-ups about each others' personalities. In Made in Manehattan, when Rarity runs off in dramatics about someone's fashion, AJ doesn't roll her eyes or scoff, she smiles. Oftentimes, their conflicts are very common domestic conflicts romantic couples face. Applejack's Day Off is about a woman's inability to balance work and life and find time to properly spend with her partner, causing her partner to feel neglected.

By season seven, they're actively participating in each others' interests. Any problems or conflicts that arise are dealt with, and they come out the other end stronger and closer. In Honest Apple, AJ pretty much spells out why their relationship works so well: even though she doesn't understand fashion, she can recognize and appreciate how much work it takes and wants to respect that. When she realizes her mistake in the episode, AJ goes above and beyond to fix things and apologize to Rarity. They care about each other so much.

The two go out of their way, sacrificing their personal desires and beliefs and doing things they normally wouldn't, to make the other happy. That's just love.

There's Simple Ways, where AJ gets stuck in an unwanted love triangle between Rarity and her hipster crush. And her frustration and anger can be so easily interpreted as AJ finding herself in a terrible position; the girl she loves wants another man, and that man wants her.

I dunno. I've always had a preference for opposites attract ships, but Rarijack's stuck with me like a brain worm because they have the perfect chemistry. The way they show they care, or do things for each other, I've always read it as the truest representation of romance in the show.

[laurellala-comics]

Ok, so we know that after Phoenix saw news articles about how Edgeworth had become a ruthless prosecutor but before Phoenix became a lawyer himself, he wrote letters to Edgeworth to try and get through to him and convince him that what he was doing was wrong. Do we think Edgeworth read the letters? Do we think he kept them? Realistically, I think he read the first one because he recognized Nick's name and was curious what he had to say, and then got angry and threw out all the subsequent letters without looking at them. But imagine if he had kept them, and after reuniting with Nick, went through them. I feel like that would be a good opportunity for drama.

I also wonder if Nick thinks Edgeworth read all his letters or not. Like if he said certain things in the letter and assumes Edgeworth knows them when they meet, it could lead to interesting miscommunication. Obviously you could do this in a ship context, but I think it'd be compelling from a friendship point of view as well. If Nick had emphasized how much respect he had for Edgeworth and how much he believes in his ability to do good in the world and how he cares deeply about helping Edgeworth realize that, and all Edgeworth does is tell him to go away and that he never wants to see him again, that that feels a lot more crushing if Nick thinks that Edgeworth read about him being vulnerable and honest and then just didn't care.

Honestly though, I feel like after not getting a response for awhile Nick would assume Edgeworth wasn't reading the letters and start getting pissy, and only continue to send the letters for the principle of the matter (Edgeworth will have to see the letter in his mailbox after all and be reminded of Nick's existence even if he doesn't read them). I could see him using the letters more as a way of shouting into the void about his feelings with no expectation of them being read. I imagine the first letter was a very mild and kind plea that Edgeworth remember his old friend and who he used to be, and then 10 letters later it's just one page with "bitch" written in big letters because Nick is So Done. In which case, it would actually be so much funnier if Edgeworth DID read all of them from the beginning. Maybe this is why he acted the way he did when Nick met him again.

[emioliravioli]

have i ever talked about how they're both the princess and her loyal knight? because they are, and they make me insane because of it.

[sunlight-shunlight]

thinking about veilguard and bioware in general, i think we are reaching a point where people need to grapple with the inherent limits of what stories can be told in our Current Society and in AAA gaming companies.

on a labour level: mass layoffs, tons of developers leaving despite previously talking about how passionate and happy they were to be involved, not even paying severance, and crunching employees to the point of burnout. this is unfortunately pretty standard for AAA game companies.

on a cultural level: it is SO white and SO centrist-ly Canadian. i wrote up these asks outlining how. it is a repeated pattern of writing in which they go into tortured racial oppression allegories at best, while constantly peppering in a "but BOTH SIDES were wrong and made mistakes :( :( :(", in between their fictional atrocities that are clearly mirroring irl genocides and enslavement. or at worst, it's "the qunari are radical islamic borg" which has even less nuance. i personally thought, since dai came out in 2014, and a lot has changed since then about the world and in public awareness, that this would have filtered into the narrative and resulted in more satisfying and historically grounded writing. unfortunately not the case. it's shocking if you compare it to how sharp and aware and unflinching something like disco elysium is.

so what does this mean?

under these conditions, it is unavoidable that we get development by people who are rapidly cycled out of the company or demoralized into burnout. we get digestible, easy little soundbites of lore without much substance, because any complexity needs more time and coordination rather than the process of "quick, we have these assets, a lot of people involved in making them just got laid off, we need to make Something by next quarter to show the CEO". we get very little cohesion between games, despite the clear intent from dai to have so many plot points set up to follow through in a sequel, because the team and development are so chaotic that they can't hold onto a vision and complete it.

we also get this inherent caution and "conservatism" from the narrative, because on an ideological level, they're largely white people who want cops to be included in pride. so any major change to even a fictional society is Bad and Scary, and shouldn't be done without making sure that every character finger-wags appropriately at non-state violence. there is clearly not much ideological or even ethnic diversity within the leadership; or at least not enough that anyone there felt comfortable even speaking up on minor issues like the Incredibly Orientalist Isabela Outfit, let alone anything larger.

i don't personally think there's too much value in trying to analyze veilguard's plot or lore at this point. the final product is chaotically developed and does not seem to reflect the goals of the creators as set up in prior games, it's basically a ship of theseus in terms of the people and ideas involved in making it. this is sad for all of us, who were interested in the story, and attached to the characters, and were creatively fulfilled by engaging in the fandom. it's probably worse for the developers who have lost their jobs, burnt out, or feel unhappy with the game that they spent years of their life working on. it's certainly miserable as an indictment of The Industry, as well as the general societal climate of white Canadian centrism.

the solution is to create a society where people can develop games in peace and prosperity and stay on projects for longer, rather than constantly getting turfed out without severance pay. and to get some genuine leftists, poc, and indigenous people on staff who can weigh in and provide significant input, rather than a Council Of Liberal White Edmontonians every time.

in the meantime, at the very least, let's please stop preordering AAA games and supporting companies who notably abuse their employees.

[princema-k]

ouahg

[paintedcrows]

Assorted Gravity Falls doodles!

[firestorm09890]

Penny stardewvalley makes me so sad because she's SO sensitive to, like, basically everything you tell her (telling her that you can't stand children while two children are nearby is a pretty lousy move but -1500 friendship?? being a jerk to other characters' faces typically loses you about 50 points, and if you choose the option labeled "creepy" and ask Leah for a kiss in her 2 heart event she physically hits you and kicks you out of her house but that's only -100 friendship…) and so if you want to befriend her it's a whole lot of lying and tiptoeing around her feelings (2 hearts: George was right but saying that makes her feel bad. 6 hearts: her food sucks but even if you try to be polite about it she feels like a failure; only a bald-faced lie pleases her. 8 hearts: saying you don't want to be tied down with a family loses you a little bit of friendship and she's only happy if you say you want kids) and I can't help but think she's a product of her environment. She lives in a trailer with only her mother, who gets drunk every night and has something of a temper. Penny's like a skittish rescue animal who won’t even come out from hiding under something unless you leave her lots of treats

[urpersonalpublicgalaxy]

trying something out