#but she's still pretty shitty

[oilith]

My fic notes

I want to write them all, but i have no energy :') i made something quick tho, so i won't forget lol. They're both about lilith's aroace identity, and the bottom one i've wanted to do for a while, but couldn't find words. I got VERY inspired after watching apology tour tho, and i think i finally got something down

[maelancoli]

i'm kind of late to this but i just finished reading the scholomance trilogy by naomi novik and i feel like it is such an underrated urban fantasy?? taking the chosen one trope and turning it on its head with a fmc who has been prophesied to bring death and destruction, who is imbued with terrible power, but cannot even properly use said power to solve any of her obstacles because it would obliterate them and her soul. it takes a tired trope and the idea of an 'overpowered mary sue' and throws it back in your face by showing how all the power and destiny in the world is useless against a system filled with corruption that has burdened you with an easy way out (evil/destructive magic) that you can't take so now you have to work twice as hard as everyone else just to do simple, constructive spells instead of flicking your wrist and being done with it.

[ar0rin]

captain and 8!

[yardsards]

im like the lorax when it comes to women's body hair. we should let it grow.

[tyttetardis]

Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if you haven't seen it yet but are going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2

[lgbtlunaverse]

So I watched A Silent Voice with some but minor knowledge of the story going in. And right at the beginning when Shoko's bullying started I had the nagging worry that while Ishida would be redeemed they'd leave Ueno and Kawai as one-dimensional bullies. Painting the girls as the "real villains" while the male protagonist got to have depth. Anyway I just finished the movie and I would like to formally apologize to Oima Yoshitoki and Yoshida Reiko I should never have doubted you.

[aces-to-apples]

I'm gonna be real, so little of previous games have actually mattered in any way beyond flavor text that I literally could not give less of a shit about this whole debacle. Like it's such a non-issue to me. Idk what games y'all have been playing for 15 years but truly this is the norm. Barely anything carried over from Origins to Hawke and all pretty minor shit, and I genuinely cannot think of anything beyond flavor text carrying over to Inquisition. Oh you could customize Hawke and they can answer a few vague questions with vague bullshit? Cool, presumably that's what the Inquisitor will give us. Like idk guys but I think maybe building up your expectations for a decade has had a detrimental effect on what should be reasonable expectations for a video game that's truly been in development hell for like eight years and wants to be functionably playable to brand new players without alienating them.

[sprucestairs]

hhhhhh I need to properly reread Percy jackson again. This post brought to you by the fact I was about to make a post about a scene I very vividly remember of Will Solace trying to convince Pollux not to keep fighting with his good arm broken before Percy manages to convince him not to bc he promised Dionysus, then thought to myself "huh maybe I should fact check that- I mean I did also convince myself that Travis stoll died in this battle when he actually just went to college." And guess what? That scene ✨️didn't happen.✨️ Pollux was trying to convince Percy to let him rejoin the fight very half heartedly, while propped against a tree, and Percy was just like "hmmmm... no"

[koterkot]

i'm probably a system but i have a job so idrc about that rn

[randomnameless]

The quintessential problem with Claude and the deer is that they should not have been involved in the war at all, or at least not Claude. What does he have to gain participating on it? Nothing, and he makes it even more explicit in azure moon when he dissolves the alliance. He could've pretty easely given the power to Lorenz or Hilda and nope out of there (what he does in silver snow), as it is clear througouht white clouds that he doesn't have as much of an attachtment to Fodlan as he does Almyra. And it isn't like the devs couldn't take the deer studients out during post-TS, when Marianne unless recruited is pressumed dead, and Lorenz unless recruited joins the imperial forces and dies helping the empire.

Outside of the problems with racism and the bigoted tropes related to "savage cultures" the Fodlan games perpetuate, the devs did not know how to use one of their house leaders for the main plot of "church vs empire", and idk if that's because they bit more than they could chew, or if it was intentional taking into account who gets the short end of the stick in both games happens to be mixed and from one of those "savage cultures".

TBH...

It's on the devs for having wanted to add a third lord to their game, but failing to, well, link him to any of those plots.

Supreme Leader's war of unification?

Well, Nopes gave him a part this plot - and yet there's no third choice in this plot : you bend the knee or you die. Nopes' wise, Clout decided (in his route) to bend the knee with his "alliance" that is totally supposed to make Supreme Leader reconsider her desire to roll over Leicester and make it part of Adrestia again!

(Granted, Nopes don't tell us how his plea to stop the war after killing the evil lizard lady will play out and leaves an open ending...)

In Houses, well, he doesn't want Leicester to be flattened, and goes on the offensive (counter offensive?) when Billy pops up with basically what is the plot events of Silver Snow (down to using the same strategy with disguises) with the Gronder Map.

And that addition radically changes... well, everything regarding Claude's relevance : he cannot form an alliance with the Blue Lord or the Kingdom to get rid of the Empire because "plot convenient myopia" and apparently Dimitri BaD enough that he attacks Alliance troops for no reason.

Forget SS, GW (and AM, in a way) is just using plot contrived excuse to... not have an united from to face the Empire. Why? IDK. Each Lord must be the hero of his story, or the unification boner means only one of them can "win" an unified Fodlan i'd guess.

Nabateans and the plot ?

No one gives a fig about that "plot", so it's basically pursuing a side-quest for no payoff.

Now, as @fantasyinvader wrote, Claude's story and journey as one who is ignorant and gets to learn and clear his misconceptions + the background of the land we're living in could have been interesting, doubly so given how Billy is voiceless and cannot play the "protag discovers the world at the same time as the player does" role.

But it has... no payoff.

Much like Rhea's infodump about the World, Relics and Nabateans... Claude reacts to the mention that Billy has a rock for heart, and not about his crest, his shiny bow or the fact that Rhea also had a vested interest in, uh, getting rid of prejudice against people who are perceived as "different" because her family was genocided for that.

Hell, the entire "prejudice" angle from Supreme Leader's war is swept under the rug, so we can have the Deers say nonsense like wanting to rekt Thales for Supreme Leader's sake, while only Flayn and Seteth can hear her "nabateans shouldn't have power over the people"...

There's no parallel drawn in the game about Claude and Rhea's situation - since she's at the center of this subplot - about being perceived as "outsiders" and not being able to do various things from existing to "rule over the people" because of what they are, or even faking their identities and building metaphorical walls between them and the people they're living with because they are afraid of rejection.

Nah, we can't have that, Rhea must be irrelevant to the possible, while also being the biggest scapegoat/dragon of this saga at the same time as a nebulous red herring to sell pots of tea.

Ihthe "fight against prejudice and make people accept each other" angle was that relevant to his route, Claude would have most likely talked or interacted with Dimitri and learnt of his plan to cleanse Duscur's name in his Father's assassination, raised a brow at Petra being a hostage and done something else than give a surprised pikachu face at Rhea's infodumps.

He could have reacted at her reveal that if you might want to live in peace with some people, if those people don't want that and label you as nothing more than fodder or things to be looted, it's not going to work.

And of course, gave a reaction at your second in command (unofficially?)'s reveal that, uh, her house keeps identured Almyran children as war prisoners?

Some people already made some AUs or "what ifs" routes for a proper Claude route and not the nonsense that we got in FE16 where it's basically "I react to the same plot events that happen in the other routes but top it all with a zombie".

The Deers could have been "better introduced" in a plot about getting rid of prejudice, or learning the causes of this prejudice : Marianne was/is hunted because of her blood ties to Maurice - not because what she did, but because what Momo did back then! - Lysithea was treated as a guinea pig and her house rolled over by Adrestia who has a less than rosy views about the "offshoots" that are called Leicester and Faerghus, Lorenz could explain that prejudice, just like piety, are tools used by people whenever they're relevant, like, some people being pissed at foreigners and some who aren't because they make money through international trading like Margrave Edmund does, Hilda justifying her House's animosity towards Almyrans because they lost many people in those pointless skirmishes (maybe a closed ones? Her mom or Uncle or whatever?) which would make Claude realise that "ending prejudice" is a much more difficult quest than, idk, just killing one or two randoms.

The commoner trio might share Claude's views about prejudice and welcoming foreigners, but have more "mundane" worries like being able to have a roof and food to eat, which might be the case of some people in Leicester, or tell us more about Leicester and how it works (give us more insight about the different countries if Fodlan ffs).

Maybe we could have add a Claude who learns and discovers Fodlan, and along the way, starts to love the land as much, if not more, than Almyra and really wanting to protect this land from whatever Supreme Leader's cooking, or becoming an Almyra v.2.

I don't think making Claude the third wheel of the plot was maliciously intentional because of the, uh, implications with RL cultures and Almyra, but more like they didn't know where to put him.

I noticed you wrote the conflict as one that is "the church vs the empire", but I do not really agree - if that was the case, the war would have stopped in VW/AM/SS the second Rhea was caught.

The main conflict is Supreme Leader's war of conquest - with the twist that the devs were really banking on their brilliant idea of making the red emperor the titular waifu of the game that each person/lord/whatever Rhea is must find a way to excuse and/or justify her actions.

With this in mind, AM is basically Dimitri's fall (and rise!) because of his ties to Supreme Leader.

In VW? The game cannot explore too much outside of the Supreme Leader scope so we're left with.. well, what VW was.

Claude cannot go on a journey to discover Fodlan and get rid of his misconceptions... because part of those same misconceptions are used by Supreme Leader to start her war, or the sheer concept of a conquest, aka a nation being rolled over by another is anathema to his, supposed, ideal of wanting people to accept each other despite their differences.

I ranted about it since day 5, but the Nabatean subplot (and Fodlan in general) is accessory to Supreme Leader war, there is no point aka no payoff for learning all of that, because you cannot challenge the one who wants to unify the continent.

As such, Claude cannot deviate too far from this plot - while receiving infodumps about "the lore" - and we end up with third wheel of a bike and characters who, at first and second glance, appear to be irrelevant.

Fodlan ends up unified despite starting as three separate countries, we feel bad for Supreme Leader and mourn her unknown ideals, Rhea is gone and the Agarthans aren't a problem anymore.

the second the devs said leicester was a republic, claude was doomed. Merchant republics are always irrelevent or straight up useless in the FE series!

[icewindandboringhorror]

examining a seemingly normal image only to slowly realize the clear signs of AI generated art.... i know what you are... you cannot hide your true nature from me... go back where you came from... out of my sight with haste, wretched and vile husk

[wiretism]

We need to start treating bad writing like bad art and im not kidding

[hakusins]

my little sister is honestly the most violent lil shit i've ever met and personally i will not handle her without the safety of oven mittens but like tell me why whenever she gets vulnerable and actually admits she cares abt i just burst into tears

[blue-thief]

“ love is an action, never simply a feeling. ” picrew

荊 一恋 | kei iko

despite having little to no interest in men, iko is a kyabajo at fragrance's sister club, melody, and is izanami hifumi's #1 client. as a former member of the party of words, being the top spender in shinjuku is iko's last claim to the feminine power she now struggles to believe in. at work, she puts on a childish, innocent persona to appease her customers. however, in the company of hifumi on her nights off, she doesn't hide the callousness that once made her chuoku's vice chief of the administrative inspection bureau.

occupation: hostess, former vice chief of the administrative inspection bureau

birthday: april 14

age: 29

height: 163 cm (5'4)

blood type: O

likes: women, izanami hifumi ("and doppo by default. i guess..."), 7-11 sandwiches

dislikes: women, men, amemura ramuda, the countryside

[wildflowercryptid]

potentially batshit headcanon, but i think it'd be funny if these two were related somehow.

[bobzora]

happy international women's day