#i literally don't know where to look

[quick-catton]

i'm never going to be normal again. oh my god

[denimshortsdean]

Cas really read dean to filth within an inch of his LIFE three (3) minutes after meeting him (What's the matter? You don't think you deserve to be saved?), threatened him the very next time he saw him (You should show me some respect. I'm the one who dragged you out of hell. I can throw you back in.), then the time after that overshared about being a good little soldier (Can I tell you something if you promise not to tell another soul? I'm not a... hammer, as you say. I have questions. I have doubts)

absolutely insane writing from the destiel show

[stardustedknuckles]

It's looking like there's a growing divide between Campaign watchers and Tlovm watchers in terms of like. We're here for the characters. 12-episode seasons aren't. They can't be. I'm already making peace with everything we'll lose in the Mighty Nein show, and I know I will enjoy it for what it is but I also know that almost nothing that made the story so special will translate to the screen, because turning it into a show automatically means (in this day and age) that plot must be the number one priority. They've already come out and told us it's going to be different, the characters we know and love but new stories.

Because that's how this has to work. And I feel bad for campaign one lovers, because while it is certainly the easier of the two to translate to a big, overarching story, even though it's a more "traditional" high fantasy story with easier archetypal characters, the archetypes and the plot aren't what cemented most people's love for the campaign. So much of the love for critical role is stored in the interpersonal dynamics and the payoff that comes from hundreds of hours of tiny interactions that one day become cornerstones of development and even affect or dictate the plot.

There's no room for that. There's no room for Bard's Lament in a story that cannot afford to remove and replace a main character. A lot of tlovm is for people who have been here for all of campaign one. Most of it, however, isn't. It's for a new crowd. While CR may have creative control, you can bet your ass that there were months and years devoted to figuring out how to map a character-focused love of the show into a plot that hits the right beats to be viable in the show market.

And it worked. Tlovm has consistently high viewing numbers, and its popularity has brought and will continue to bring new people into the universe who have never interacted with CR previously. That's not a bad thing - imagine finishing your favorite show and discovering it has another FIVE HUNDRED HOURS of the equivalent of behind the scenes content. That's incredible for these newcomers. But man, it is in many ways a loss for us.

[groovygrub]

[luna-loveboop]

Hyrule and dungeons-

So apparently Hyrule has a spider sense for dungeons

I think that the layout further proves (kind of) that this is close to Hyrule's era/is his style dungeon.

'With this architect, you don't know what could be around the corner'- but he does and can- because this is the type he's familiar with

Side note- I CANNOT express how much joy this gives me

Wind encouraging The Pose tm! (I just know there was music in the background)

Anyways I appreciate the detail of Hyrule knowing/feeling the chest, because from what I've played of the og Zelda that's fairly accurate. With the game guides and how the players get around- blowing stuff up randomly doesn't always work to find something, but just knowing does, because that's the only way to get through productively.

I don't know if that made sense. Hyrule's games and dungeons are hard- I couldn't get through by just finding things- because all the walls look the same! What a cool character trait to introduce: 'lucky guess'

And don't give me a heart attack like that gosh Hyrule!

Way to go, buddy

Art by Jojo @linkeduniverse au! :D

[sillyfudgemonkeys]

[wolfram-but-art]

mercenaries the typa person to say "is anyone gonna fall in love with that?" and then not wait for an answer

reblogs > likes btw \(^_^)/

zoom-ins under cut :3

the polka dot brush texture was made by ggutinho on DeviantArt btw!!

[fogdraws]

Watching The Empty House and oh my god Watson literally fell to the ground when he saw Holmes alive again THAT'S emotion and then LOOK AT HIS FACE he's so happy my heart 🥺🥺

Holmes, always keen to a dramatic touch. Like, my man's throwing ballet poses while he stretches just look at that

Also going from David Burke's To Edward Hardwick's Watson wasn't as shocking as I thought it'd be. He's just as charming as Burke.

Also also! I am SO drawing this frame:

[teleportationmagic]

The thing about Jayce and Mel is that like. She does not view him as an investment. That is just certifiably false. You have to skip over all her scenes to believe that.

In the beginning she does! She absolutely does! She conceives of their relationship as a business one - where she makes profit off his inventions, and he profits from her business and political acumen, both monetarily and powerwise. And overall, she believes she's fulfilled her half of the bargain.

It's only when he comes back to her after Viktor gets sick that she realizes he believes this is something deeper. And it's notable that she responds to that emotion - she opens up about herself too, comforts him, and expresses real emotionality about it. It's then that we see his ideals start to influence her - especially reawakening in her a desire for nonviolence.

Wanting to do things peacefully is something that's been with her since she was a child. It is what guides her away from Noxus, because her pacifism just does not fit there. It's why she loved Piltover so - they aren't a violent expansionist empire, which is a really low bar, but that's what she's grown up in.

She never finds the violence in Zaun, because she never goes looking for it. This is her fault, and her flaw, let me make that clear. She has some of the most power in the city, and should know about what kind of violence is holding up, and work to resolve it, truly. But she doesn't, because she's focused on her own exploits, and has so insulated herself away from the class struggle that it does not register for her until it grows to violence.

And then, once that violence comes, she maintains that pacifism with an iron grip, more than Jayce himself. It is Jayce who constructs (almost) all the HexTech weapons that are used in the Undercity, in Caitlyn's police squadron. He betrays the oaths that he's made to his partner, where Mel keeps the promise she's made to her's. She is the only politician left to try to tamp down on the worst of Ambessa's instincts, and her removal from Piltover is what marks it's descent into militarism.

She is ultimately a complicated woman, with a bunch of interesting relationships to Piltover and Zaun. I think you can divide Piltover as a city neatly between her, Jayce, and Caitlyn - each of them standing for some of Piltover's best instincts, and some of its worst.

[vaguely-concerned]

walking through lucanis' mind prison. the tam lin of it all

[wardensantoineandevka]

I've said it before, but Ashton really just reminds me of my sister who is a punk. It isn't a compliment.

However, it sure is fascinating as a character choice and COMPLETELY consistent with what Taliesin said is his inspiration, touchstone, and framework for the character.

[toadletthefirst]

Slay the princess portraits life and death on meta level so beautifully

While playing as a forgetful god you truly relieve experiences of the mortals. You appear in unknown circumstances no matter your will with strangers who are in the exact same position. And you are trying to build something. And it gets taken away. All, no matter good or bad, ends.

There were many living creatures similar to the vessels you saw. There are probably many of them now, in slowly dying universes.

And then TLQ is a god once again. And it gives you a new godhood perspective.

The shifting mound is such neat embodiment of the cycle of life. Dynamic is truly beautiful. It's paint on the blank paper of mediocre days. But art demands sacrifices.

Do you agree to kill myriads of those pitiful again and again to make the art of life? Can you still perceive it as beautiful after living through just as much misery and fear as they did?

And it lines up with the game you had. Aren't you sad that the thorn never walked out of the destroyed cabin? Wasn't it sad to see the damsel being taken away? Isn't it a pity that adversary was forced to stop doing what she loved? That wrath and nightmare tried so hard to be free and never got to experience it? That we never got to apologize to the stranger? Is it that foolish to believe that even the most wrecked vessels could find their peace if they just had more time?

And the shifting mound shows how their departures have meaning. But it is so by her context.

Of course the shifting mound says they found their peace in her. Of course they are still continue to live through her, in a way. But will it work for our life too? Will we find any soft embrace after death? Will we be a part of a greater narrative, like the vessels are a part of the shifting mound? And even if so, does it really matter if it's beauty is seen only from a far?

Sometimes mortality really feels like standing all alone in the neverending abyss and screaming: "well all this beauty of eternity - and what about me? What about how I want to see my loved ones happy? What about the beauty of my life?"

Of course EAH and MOC show how scary the constant static is. But my mortal mind wants to believe there is still a way to live through it. To make it work somehow.

I don't know. I really don't know anymore. This game had me in pieces

[marfian]

Does Daemon fuck Viserys in a hallucination? Has Daemon fucked Viserys in a hallucination? Will Daemon fuck Viserys in a hallucination? When will Daemon fuck Viserys in a hallucination?

[somegrumpynerd]

More doodles of the new chapter of How Nightmare Became Dadmare by @topazshadowwolf please go read it

[generalsmemories]

every time i see someone shit on the xianzhou story quest on twitter i die a little bit inside.

[cluescorner]

Arlecchino's whole deal is unbelievable

Arlecchino: Huh I wonder what's causing my weird powers? I can't really worry about that right now tho, I've gotta become King and then kill my "Mother".

*Kills Clervie and "Mother"*

Arlecchino: Huh I wonder why I was able to defeat a Fatui Harbinger when I'm like 17 or so? I can't really worry about that right now tho, I've gotta be in jail and become a Harbinger.

*Is in jail for a while and becomes a Harbinger*

Arlecchino: Huh I wonder why I am-

Pierro: Hey what's up hello, anyways you're descended from the Crimson Moon Dynasty of Khaenri'ah. I'm sure that this is a lot for you to take in so-

Arlecchino: Ok.

Pierro: ...You're just cool with that?

Arlecchino: IDK maybe? I can't really worry about that at the moment, I'm a father now. This orphanage full of children I love (who also are child soldiers and are not allowed to leave or else I'll execute them except maybe now I'm just gonna wipe their memories IDK I'm morally complex) isn't gonna run itself.

*Runs the orphanage/spy recruitment initiative*

Me, the fucking player: WHAT DO YOU MEAN YOU ARE KHAENRI'AN? WHY WASN'T THIS BROUGHT UP IN YOUR FUCKING QUEST?? OR ANYTHING ELSE????

Arlecchino, talking to me through my phone: I honestly don't know why you care, I'm too busy to give a shit. Anyways, I'm gonna go fight fate itself I guess. I'm sure that I don't share any thematic parallels with any other Khaenri'an characters (particularly as it relates to acting and family angst) and that I haven't made the idea of 'curses' on Khaenri'ans and what they entail even more complicated than they already were. See ya.