#critical thinking is good

[noperopesaredope]

I wish we had more female characters like Eleanor Shellstrop. One of the most unlikable people you've ever met. Read a Buzzfeed article on most rude things you can do on a daily basis and decided to use that as a list of goals. Makes everyone's day worse just by being there. Dropped a margarita mix on the ground and tried to pick it up, only to get hit by a row of shopping carts which pushed her into the road where she was hit by a boner pill delivery truck, killing her instantly. Cannot keep a romantic partner despite being bisexual. Had a terrible childhood but will die before she gets therapy. Best employee at a scam company. Just the worst but also can't help but root for her to improve.

Absolute loser. Girl-failure. Bad at almost everything. Literally perfect female character.

[revvethasmythh]

Orym has had ENOUGH

[shorthaltsjester]

when people think delilah just completely takes over and laudna has no control. when people think jester is just an uwu child who has been manipulated by every man she’s met. when people think vex is an empty husk of daddy issues without her brother by her side. when people think fjord is an arrogant asshole who doesn’t pay attention to the party around him. when people think scanlan saying that vox machina doesn’t care about him is an accurate assessment.

[uncanny-tranny]

This might seem like an "old man yells at cloud" situation, but it's just wild growing up and being told how dangerous distracted driving is - how, at highway speeds, you can traverse the length of a football field (100 yards, 91 meters) in a matter of seconds - how one split second sending a text while driving could result in a potential fatal crash, and then getting on the road as a driver and being surrounded by billboards. Their entire purpose is to catch one's attention, so they're lining major roads, which tend to be highways. How is it that you're told how important it is to never be distracted while driving, but still being advertised to?

At best, this type of advertising is an eyesore to pedestrians and motorists and a general waste of electricity to light it, and at worst, it is an active danger considering they are there to advertise and therefore, must catch people's attention.

I'm not even against advertising in theory, but this particular mode bothers me so much and I hate how pervasive it is - especially in large cities or highways.

[khruschevshoe]

You know, it's rather interesting to me that Taylor Swift's parasocial relationship with her fans is honestly more akin to a YouTuber than a writer's. When I scroll through her tag on tumblr/Twitter, it's far more regarding the connection to her personal life/relationship developments than the actual metaphors/fictional story she might be telling. Everything comes back to how her songs reflect back on her relationships with Joe/Matty/Travis/Jake/insert ex-boyfriend here. And what fascinates me about it is that even though she complains about it, she leans into that very perception because it strengthens the parasocial bond.

The marketing for TTPD so clearly being about Joe Alwyn and the songs to Matty Healy. The marketing/video for Red TV so CLEARLY being about Jake Gyllenhaal, with so many of the new lines in All Too Well specifically being digs at him (I'll get older but your lovers stay my age, casting an actor that looks like him for the video, specific lines in I Bet You Think About Me). The fact that songs like Getaway Car and Bejeweled and Gorgeous and London Boy and Lavender Haze being picked apart at time of release and long after for signs of relationships crumbling. The way she uses surprise songs in relation to her relationship development with Joe/Matty/Travis. The damn TTPD "stages of grief" playlists where she deliberately undid/changed the meanings of old songs just to keep her audience speculating on her love life.

It's not sexist to point out that her wielding her love life is a marketing tool and that the strongest connection to her audience isn't the strength of her writing/the composition of her music- it's her deliberate crafting of a connection between her music and her personal life, leaving the audience invested in her music as an extension of Taylor the Person/Girlfriend rather than Taylor the Artist.

[nellasbookplanet]

M9: "sometimes we don’t want to deal with a violent fight so we just polymorph our opponent into something harmless and embarrassing and leave"

BH: "we also have a non-violent method! We put our enemies in The Hole"

M9: "oh neat! And then you leave before they can climb out?"

BH: "what no we forget about them until they run out of air and die horribly"

M9:

BH: "there are so many bodies down there"

[pocketgalaxies]

Her dead husband. I'm going to have his face. || Delilah and I have shared a brain for an incredibly long time. (for @sharkodactyl)

[bluebird-ascended]

OPPAPPI!!!!!!🗣️🗣️

[lizzybeeee]

Calling it now:

If there's ever any future installments of Dragon Age there will be no mention of the differentiation between the Dalish or City Elves.

Like in DATV they will simply all be 'elves' and the vallaslin will be reduced to 'cool looking tattoo's that some veil jumpers have' - no mention of the elven pantheon either, because why bother! They're all dead now!

They're all dead and responsible for every lore plot point in Thedas, and there's nothing of mystery or substance left in the world now.

No mention of the culture in the alienage, of the vhenadahl tree, of the horrific racism and systematic abuse the elves have been through...now its just elves. With the way the Veil Jumpers have been set up, and the fact that the elven gods were the enemy in DATV, I find it extremely unlikely that the Dalish will even exist as a group either. Why would they? Their Gods returned and blighted the world - not that the fact is even truly discussed in the game. Elves are just elves, and the notable elves are Veil Jumpers.

Maybe you'll walk in a city, pick up a codex, and get a copy and pasted explanation of history from a DAO codex - a reminder of what we used to have and what BioWare absolutely demolished in their attempt to build a new IP on the bones of Dragon Age. The absolute whiplash in writing, story, and character between DAI and DATV is staggering. How on earth could the studio that made such a gorgeous, rich world of lore surrounding the elves in one game end up utterly bastardizing and reducing it to nothing?

How can you look at a place like the Temple of Mythal and go from those gorgeous golden murals and emerald tiled roofs that reached to the heavens to a place like the Lighthouse? From the Emerald Graves to the ruins of Arlathan - devoid of halls that reach to the heavens and golden murals replaced with stained glass? The entirety of the Trespasser DLC had more character and reverence for what the elven empire once was, and DATV feels as though it's approaching it with the perspective of 'generic elven bullshit with triangles everywhere'. All that unique architecture has been obliterated by adding in World of Warcraft focus crystals and automatons.

How can you go from the atmospheric/environmental storytelling of the Lost Temple of Dirthamen to Solas just blurting everything out? No weight, no double truths or hidden meanings - just blurting it out, getting it said and done with no gravitas? That was Solas' entire thing! People have made threads literally dissecting what Solas says and does not say - now he spits lore out as though it were common, everyday knowledge.

How can anyone justify the sudden emergence of magical automatons everywhere in old elven ruins? As if Dragon Age didn't have a host of enemies/creatures available to use in their stead - or the ability to create something unique to the forest of Arlathan. What happened to the spirit guardians? What happened to the lingering echoes of the elves slaughtered by humans in wars ages past like in DAO? Magic was their very existence - spells taking years or centuries to cast, weaving in and about each other - and you're telling me the ancient elves spent their time creating magical transformers?! It feels/looks so utterly seperate from everything we know of the elves from Dragon Age.

Or look at the Crossroads - listen to how Morrigan speaks of it - the reverence for the past, the misty atmosphere, and the heaviness of this pocket of the world that carries the fading memories of a world and people that no longer exists...now it's reduced to a hub world! People are just popping in and out of it at will!

In Trespasser, the few eluvians that we were available to travel to led to the most lonely, desolate spots of Thedas, which ensured their survival over the past millennia. The mirror in the Deep Roads, the mirror in the ancient stronghold in Ferelden...now they're everywhere!The 'few surviving' eluvians are in every major settlement of Thedas and all are in operating order! More than that, everyone who sees an eluvian knows what it is - this ancient marvel of a world long gone has lost all worth and is reduced to a 'world building' justification for fast travel.

Poor Merrill, slaving for a near decade to try and restore a small sliver of her history, only to have all gravitas and wonder of her discovery utterly made void. All that accomplishment wasted, especially when Bellara can wave her magic omni-tool and fix an eluvian in a matter of hours.

If you took every specific Dragon Age terminology out of the Veilguard and replaced it with generic fantasy bullshit you would never be able to tell the difference. The world of DATV is so divorced from its predecessors its astounding.

[embracing-the-ineffable]

Beware clickbait accusations

Hi fandom, here's what happened yesterday: A reporter named Rachel Johnson, who is the sister to Boris Johnson and a big terfy supporter of JK Rowling, released a 4-part true crime podcast featuring two women accusing Neil Gaiman of SA. Yesterday. The day before the UK elections. This post explores the possible political links in more detail.

CW: this post is free of graphic details, but if you follow these links, there may be explicit descriptions of sex, kink, and bdsm, plus mentions of mental illness and suicidal thoughts.

I want to believe and support survivors, and I also want to base my thoughts and actions on facts. I thought the xitter livestream commentary from Not Becky for all 4 episodes was very insightful. There's also a first episode transcript without extra commentary. (Edit: released after I wrote this post: the full audio plus transcripts for all four episodes of the podcast are now available to download here, or you can read all four transcripts in your browser.) I have since concluded (pending more time to think and read and learn, or any new information, of course):

This seems like the worst kind of clickbait, an unjustified mess that will hurt everyone involved (except possibly a few politicians who might benefit somehow, we'll see). The evidence the "reporters" present directly contradicts their accusations. They're counting on people reading headlines and not digging any deeper.

They tried to make something sinister where there was apparently consent and a caring relationship. Have they exploited one or both of these women? S, in particular, is described as vulnerable and with a history of unspecified mental illness. They have all of the message history between S and Neil, and her messages make the sexy stuff between the two of them sound enthusiastically consensual. There are even messages (multiple!) where she specifically says everything was consensual. Here's one:

They're playing horror music in the background to try to make us feel horrified, even as S reassures us that things were consensual. It's emotional manipulation by the reporters.

The times S sounds upset during the interview are the times she talks about Neil leaving her behind or not paying attention to her. Not the times she talks about consent violations. Her stories during the interview are inconsistent, and they contradict her messages with Neil and with others. Maybe we'll get better information from a more reputable news source, or maybe not, I don't know. I also don't know why anyone who cares about her would have advised her to do this interview.

Then they tracked down lots of other women who know/have dated Neil and they all had glowing things to say, except one other lover from 20 years ago, K. She described some bad sex, and then pointed to a time in their 2-year relationship when she felt something wasn't consensual and he thought it was. And after their breakup, they continued to text and flirt, for decades.

This podcast "exposé" feels like explosive clickbait with political ramifications. The evidence here doesn't support a pattern of poor conduct so much as establish Neil as a fellow well-meaning human with imperfect judgement. That doesn't mean the accusations are all made up; intimate partner violence is complicated, and the responsibility for checking in and getting regular enthusiastic consent from partners is very real, especially when kink or bdsm are involved.

I don't know what the right balance is here between supporting survivors, thinking critically, assuming good intentions, and waiting for better information, but I feel confident that this podcast alone is not enough to condemn anyone aside from the irresponsible journalists who inflicted it on the rest of us.

PS/edit: I'm tagging my relevant posts (mostly reblogs) with #ineffable grief, and you can see all of them here.

[itwaslegendary]

Taylor Swift's interview on CBS Sunday Morning; 25/08/2019

[soaring-trash]

Ishta the summit blade

[shorthaltsjester]

if i keep seeing so many people refer to ayden as an indication of an unknown softness in pelor i will start setting things on fire. just because YOU cannot handle nuance does not mean the story of exandria has not contained it and done so consistently. in fact the first in depth interaction that any party had with pelor (vex becoming his champion) was a portrayal of him that was explicit in his complexity. taken straight from the transcript for 1x104 elysium, “[vex you] spin and look, whereas there once was a burning star-- and to the rest of [vox machina], you see the painful, endless light that averts your gaze-- it doesn't hurt your eyes as much, and you can see the faint features, the soft cheeks, the hairless head, and the bright warm eyes of he who brings the dawn. And you can see the smile there, behind the light. “there is hope.”” sunlight can warm you and burn you in equal measure.

that burning image of the sun has much in common with a teenage boy who steps into a dark room, and reminds the dm that it’s not dark. the same way that a teenage boy who stands by as a woman who will not give up her worship of pelor is punished because he has more important responsibilities he must honour has much in common with a seemingly benevolent lord of the dawn might respond harshly to a cleric who asks if he is worth saving while he is trying to find a way to survive so he might keep helping to provide light. the gods aren’t simple and they never have been. i am as psyched about the particular angle that downfall is taking as anybody but it is already frustrating watching people act like the gods are suddenly more nuanced because they’re in literally mortal bodies when the entire Point of the gods in exandria in the various stories we’ve seen so far is that the only difference they have with mortals is the bounds of their power. they carry all the same flaws and the same profundity. just because so much of the fandom has reduced that to black and white flatness or faulty mapping onto real world religions (or the various traumas those might have caused individuals) doesn’t mean that complexity has been missing at all from the story.

[sky-scribbles]

There's something so bittersweet, though, about 'Seth Domade', sorcerer and archivist of the Cobalt Soul.

Something about Seth being from a tavern family, a place where you'd be surrounded by laughter and life; no pretension, no expectations, no loneliness. Something about Essek's mother being an Umavi, and Seth's being an ordinary tavernkeep. 'My mother has never made Kraft cheese' vs 'my mother can stop time with her ale!' Something about Seth being a sorcerer, a class that just gets their talent and doesn't have to work and work and work to achieve more, until you've shut out everything else but your studies. Something about Seth being in the Cobalt Soul, where he'd always have peers and where all knowledge is shared.

Something, too, about Seth being a human from a humble family who realised he had arcane talent, and went off and studied and was happy. Something about Seth being a combination of the life Caleb should have lived, and the life Essek never could.

[essektheylyss]

I love that Caleb does not ever seem to take opportunities to take any kind of "this might be the last moment I have" actions. No matter what, when everyone else is going around and making their desperate moves, Caleb doesn't. Even after he recommends otherwise to others, it is notable that he among the group doesn't do so, and this is consistent with his previous behavior.

I like to think that stems from the moment he opted against trying to work with Trent—which I think, at its core, was an attempt at such an action. If Caleb had died fighting the Somnovem, he had every reason to believe that Trent would continue in his actions. Though Astrid and Eadwulf were willing to subtly undermine him, they had made it clear that they were not willing to challenge him outright. Caleb tells the Nein, when they are discussing their last wishes at the Blooming Grove before returning to Eiselcross, that he would appreciate Trent being eliminated in the event of his death. I have to believe that there was a fear or regret that his dearest motivations would not come to fruition which spurred his interest in using an alliance with him in Aeor to trap and kill him.

I've mentioned elsewhere that I believe Essek's willingness to disagree with him was one of the factors in Caleb being able to trust him and his judgment, but I would also argue it was a wake-up call for Caleb—about letting himself be distracted; about not focusing in on the mission at hand; about, potentially, expecting failure in this goal, especially after he has watched his friends say their goodbyes as if they too expect to die. "Stay on task, Widogast," is a mantra he uses in Vergessen, but he does get caught up, to an extent, in enacting as much damage as he can to the place in the process, and regardless of whether this ruthless assault slowed or sped their discovery, Trent did catch up to them, and very nearly caught Veth and Jester as well as himself. Given Caleb's fears throughout the campaign that he will draw the danger that dogs him onto his newfound friends, and his later apology to Essek in the same conversation for drawing Trent's attention to him, it is not a stretch to argue that this is yet another guilt he shoulders.

It isn't lost on me that Caleb almost died before the Nein even met, he was perpetually aware of his fragility among the group, and he was the last member of the Nein to go down and need to be revived. So I just think it's very fun if he, who so often seemed to be on the verge of death, who in fact planned to step back in history and in the process erase the person he had become, found himself at some point determined to live, and firmly confident in his ability to do so.

He does not wrap up his affairs, he does not say goodbyes, and while he may acknowledge the stakes for the group, he does not entertain the idea that he personally will not make it out alive—because, as Dorian notes, he has a lot to live for. He has to get back home to his partner and his well-maintained garden; he has to make sure the Cerberus Assembly's nefarious schemes do not continue in Ludinus's absence, perhaps even in the absence of the Assembly itself, depending on what its members do in its wake; he probably has to go egg on his godson's shenanigans as payback for Veth threatening to shoot him out of the sky.

Caleb Widogast is an absolute cockroach of a wizard, and, in true Mighty Nein form, he is at all times thriving on unfinished business.

[raiiny-bay]

Love, Dhes

Parker,

It's unfair how time with you feels so short. How the last 10 years have felt like no time at all. I like to think there are other versions of us out there, somewhere. Maybe in another timeline, another universe. I like to think we find each other no matter where we are or what we're doing. That we're together and happy and I get to love you in a dozen different lifetimes. That's what I hope, anyway. And I hope when this lifetime ends, we get to start over and do it all again. Because once just isn't enough. Not for me. Not with you.

I hope the next 10 years pass slower.

Love, Dhes