#i feel like... this isn't really a criticism but

[naamahdarling]

So, the other night in an effort to show a friend that LLMs can produce very credible fiction and relatively inventive ideas, I played with ChatGPT for about 10 minutes I was able to make my point flawlessly. Don't get up my ass about this, that's juvenile.

ChatGPT has watched enough Dropout to be able to reasonably (and genuinely amusingly) impersonate Brennan Lee Mulligan and, to a lesser extent, Sam Reich. It's successfully produced a script for Game Changer where the show was entirely about cats and Brennan couldn't win, and parts of it were actually funny. It also produced an AITA post from the point of view of Brennan Lee Mulligan AS DM OF DIMENSION 20 that was in places absolutely hilarious.

It is able to very successfully postulate a set of G1 my little ponies that do not actually exist, complete with colors, cutie marks, and back card stories. It had a little trouble with G1 versus G4 due to the sheer glut of content, but its ideas were genuinely appealing because the source material it was drawing on was designed to be appealing.

It generated a list of birthday party themes that would terrify an arachnophobe, two or three of which were really good. A request for it to generate a list of queer pride birthday ideas didn't produce anything particularly original, but it was all appropriate and convincing.

It produced a short script where Johnny Sims from the Magnus archives receives birthday gifts from his coworkers, and one of those was a knife-wielding tentacle. This script was in places a little less sharp than the actual writing, but it absolutely nailed the speech patterns, and each gift was appropriate to the character giving it. It was genuinely funny. In places it was clever. It actually made me laugh.

I have most of these saved if anybody wants to see them instead of playing with it themselves.

It really isn't a question of what has been dumped into the data set. We can just assume it has been dumped in there somehow.

We can't undo what has been done and we're never going to be able to name all of the people whose work has been used to train these datasets.

I have both positive and negative feelings, strong ones on both sides, about this technology. If someone wants to use this technology to create a script for a movie in the Predator franchise, or a sequel to their favorite book, or whatever, that is a neutral act. Profiting from that is highly questionable, passing it off as the real thing is completely indefensible, using this technology to replace writers and artists and real people doing ANY work where there is no benefit to humans (like identifying cancer cells -- "AI" does that) is the second worst thing that can be done with it.

That's what worries me about this. It could produce infinite Simpsons episodes without the need for a single writer. Eventually it will be able to animate them so accurately you could ask it to make it look like it had been recorded on a video cassette and it would be completely convincing. It would be able to imitate the voice actors perfectly.

We do not want corporations to have that power. Worker protections are critical. It isn't that AI produces art that is bad or soulless or whatever. Those are completely spurious arguments and irrelevant to any true discussion of whether or not it is ethical.

What matter is is that we keep this shit out of the hands people who want to delete us from the workforce. They aren't going to delete the data. We need to protect workers.

P.S. Artists, Disney and Adobe do not have your best interests at heart. Copyright issues are more complicated than they are being presented, and if you find yourself on the side of one of these companies in any capacity, re-examine literally everything you think immediately. Unions. You want unions.

For reference, because I think it's really important to bring this up as often as possible, the worst application of this technology I can think of would be deliberately or accidentally misapplying data that could be used to affect things like a person's medical care, criminal record, and credit score, all of which are actually currently things that a single company can do, APPRISS, now owned by Equifax, yes that Equifax, and fucking nobody, none of y'all, are freaking out about that even though it's the single most frightening thing I have seen in 20 years. I cannot overstate its potential to utterly destroy the lives of literally anyone who comes into contact with the system that uses it, and those are unbelievably common. They are currently selling their product to law enforcement so that cops and businesses can use it to predict who will engage in criminal behavior, I'm literally not kidding about that, they come right out and say it. It is being trained on existing data and refined constantly.

Enjoy breaking your leg and needing painkillers, which get you flagged in a medical database that will try to prevent you from accessing them in the future (already happening), and also entering you into a law enforcement database that knows you have taken them. Then add in whatever eldritch fuckery bringing credit bureaus into it would cause.

We aren't fucked, I'm not a doomer who insists that all people are terrible and that we have no future and we might as well let things burn, I do actually care about the world we live in and the people who populate it and I consider humans a delight rather than a plague, but we need to start seriously resisting the use of this shit by entities more powerful than us. They are already way ahead.

“I can now say with absolute confidence that many AI systems have been trained on TV and film writers’ work. Not just on The Godfather and Alf, but on more than 53,000 other movies and 85,000 other TV episodes: Dialogue from all of it is included in an AI-training data set that has been used by Apple, Anthropic, Meta, Nvidia, Salesforce, Bloomberg, and other companies. I recently downloaded this data set, which I saw referenced in papers about the development of various large language models (or LLMs). It includes writing from every film nominated for Best Picture from 1950 to 2016, at least 616 episodes of The Simpsons, 170 episodes of Seinfeld, 45 episodes of Twin Peaks, and every episode of The Wire, The Sopranos, and Breaking Bad.”

😡

[barkobae]

TL;DR Jean is great actually

I've been seeing a lot of Jean hatred lately especially here on Tumblr and it has been getting on my nerves since so much of his criticism is in bad faith. Much of it is tied with the fact that he is cruel to Harry, a man who is a decade older than him and his superior.

Every time Jean is criticized, Harry is always shown to be some sort of smol puppy who is "trying" which I won't disagree with but at the same time, it isn't the first time that he is trying. We know for a fact that Harry has tried to stop drinking many times in the past but has failed every single time.

There is a reason why so many people have left the precinct because of Harry but Jean has stayed. And we have seen him making excuses for Harry due to his drinking problem.

Harry's behavior always goes under the radar for whatever reason. The reason why I am so defensive of Jean is because I have known men like Harry for so long. I really really do believe that people like Harry can improve for the better but for how long does someone have to keep up with their behavior. Alcoholism is no joke.

Just prior to the game's events, Harry told his precinct members to fuck off. Drove his expensive motor carriage to destruction, made Sylvie quit and had her traumatized. Even before this time, we know that Harry held a woman against her will for like 20 minutes. Is that something that you can just overlook?

When Jean denies Harry having amnesia, there is a reason and the reason is that he has blacked out many times before. Judit knows this and she has been around for only 2 months. Jean is clearly having a denial phase because he cannot fathom how harry has completely forgotten him. Jean is never given the mercy of that fact.

Every criticism of Jean is a frustrating read because it feels like none of them have had to deal with alcoholics.

Whatever, I'll keep defending Jean but this is it for now.

[raven-at-the-writing-desk]

Do you have a sense about how the other teacher feel about Crowley? Like the students actively don’t respect him but the teacher seems to not critique him too harshly, like yes he’s the boss but they could admit he’s ridiculous

Man. It's so funny yet also so pathetic like that NONE of Crowley's students seem to respect him 😭 Ironically, this could read as a positive characterization of him. Like... yeah, it's likely that Crowley gets no respect and is largely ignored is because he barely does any work, but the fact that his students believe that all he does is uselessly yammer and that he's not capable of strong magic tells us he isn't much a fan of wielding what immense power he does have. This in of itself can be interpreted as a kindness; he doesn't magically force people to act in his favor. He's capable of and prefers to use other means (though those "other means" arguably aren't cleaner; this includes bribery, shaming, and threatening), using magic only as a last resort. It also tells us that Crowley is the type of person who is aware of his strength but intentionally holds himself back... which could honestly be threatening for later down the line or when situations get super serious.

... Okay, enough of that tangent. To your question!! ^^ I scoured the staff content that's currently avaliable in JP (since there's more of it out on that server), and from what I gather, the opinions are actually quite varied.

Of the NRC staff, Trein is definitely the most critical of the headmaster. He often nags Crowley for unprofessional behavior, such as scolding him for 10 minutes when he was late by 10 seconds to a staff meeting (from one of Crowley's Unified Exam voice lines). This is no real surprise, as Trein has always been a stickler for decorum and is more commonly known for telling off Crewel and his own students for disorderly conduct. Vargas also states that Trein has scolded him multiple times before, so it's not like Crowley is the only recipient of Trein's ire. However, he still respects Crowley as a leader and follows his instructions when work is delegated to him. For example, Trein is assigned to chaperone the students to Fleur City/the City of Flowers in GloMasq, and Trein is also the teacher that is left in charge when Crowley is taken away for questioning by Styx in book 6.

Crewel is aware of Crowley's... eccentricities... but doesn't really go out of his way to critique him for that behavior. At this point, Crewel seems pretty accustomed to the headmaster's silliness and does little more than comment on the strangeness of it. For example, he tells a story in Crowley's Raven Jacket vignettes about how the headmaster offered to eat game meat that Crewel had been saving to have last for lunch. Crewel remarks that it's times like this when he thinks that Crowley's though process is a little wonky. Overall, I guess Crewel sees Crowley as a little odd, but does not choose to get actively involved in correcting his attitude (unlike Trein, whom he often has beef with and talks back to, or Vargas, whom he tells to be quieter and less rowdy).

Vargas generally gets along well with Crowley. He's quite friendly and boisterous, inviting the headmaster to come and sit with the rest of the staff when the cafeteria is crowded for lunchtime, while Crowley lauds Vargas’s passion. Not once does Vargas comment on Crowley's odd behaviors or criticize him for slacking off or not acting in a manner befitting the role of headmaster. (Debatable exception is Crowley’s one Flight voice line where he wonders if Vargas is scolding him as well.) This doesn't mean that he completely disregards Crowley as his boss though. There are instances in which Vargas and Crowley collude, like how Vargas suggests heavier materials for the school's P.E. uniforms to help strengthen their muscles; Crowley considers the proposal. They also worked together to plan Vargas Camp and an incentive to the best performing club. I'd also imagine that he and Crowley also bond over their interest in sports and their vanity/j, as Vargas is a very centered on athleticism.

Finally, Sam also has some pretty good vibes with the headmaster--though how much of this is genuine good will and how much of it is to maintain a good business relationship as business owner and customer is up to interpretation. Crowley sometimes stops by the Mystery Shop to chill with Sam, and they engage in bets to see if he can make Sam run out of stock. It sounds like Crowley occasionally vents to Sam, as Sam refers to him talking endlessly and griping. He says that if Crowley bought more things, then he would be more inclined to listen to him. Still, Sam's cheer never appears to waver.

So to summarize, Trein criticizes Crowley the most but still yields to his authority, Crewel is neutral but does acknowledge Crowley's ridiculousness, Vargas is welcoming and totally fine with Crowley's flaws, and Sam is a friendly listener who sees a consistent customer. I think they must all respect him as headmaster to some degree (though they do seem to need a break from him every once in a while; notably, they did not invite Crowley to their after-hours staff Halloween party). Part of it is that he’s their boss, but as Crowley has shown us in his card vignettes, he is also far more competent of a mage than you might think on initial impression—and what do those at NRC respect and respond to, if not power?

[taebaelee]

Posted this on a small subreddit, but wanted to post here as well. For the new game, while part of me enjoyed playing some of it, I do really think it's such a disservice to be able to really call it a Dragon Age game when the writers stripped away any nuances by trying to make everything black or white; everything feels very basic and borderline cartoonish at points.

Anything morally gray is non-existent and you have no real influence in the game. No matter what you do, you are forced as the player to play a super friendly (or chaotic-good) at best protagonist with no opinions on the world of Thedas. This is what makes this not feel like a Dragon Age game to me.

This isn't super long, but there are spoilers under the cut as to why I feel this way. I do speak very critically about the new game, so please do not read if you think it may offend you as that is not my intention; this is more of a therapeutic rant for me and fellow DA lovers who feel disappointed about the writing.

While people can argue on how the previous games handle the situations involving anti/pro mages, templars, elves, the chantry, etc-- you can't even talk/argue about literally ANYTHING in the world with anyone as these ideas simply do not exist in the game OR are introduced but with a narrative already framed around it by the writers ideals.

- Factions/groups you work with are too virtuous. We could have had such deep and complex dynamics with the factions and how their backgrounds change your relationship with the characters in the world, or how the party members interacted with each other. Instead, none of it really matters as the game sanitizes the world around the groups to make the party members and factions palatable to the masses. A literal criminal organization, the Threads, is shown in a more positive light because while they commit other crimes, they don't deal in slavery? The Lords of Fortune (who are mainly mercenaries) would return cultural artifacts to the ethnic group they belong to-- they loot and steal, but are morally conscious enough to not steal from other cultures? The Antivan Crows who canonly bought and enslaved children, who made said children prove themselves through gruesome tests that sometimes included killing their own peers, are now played out like they're justice fighters. The the closet the game gets to showing any of the truth is small party banter you may miss with Lucanis saying his training was like torture, but it is to never be discussed again.

- The characters all get along way too well. Rook can't ask a character's opinion on the other factions, races, classes, religions, etc-- let alone reply back with their own thoughts that may go against the members views as we don’t really even get to see their opinions on them. Whenever the disapproval bubble pops up, which it rarely does, it does not change anything and it is not brought up again. There seems to be no consequences with your party members based on your choices, which makes the characters likeness towards you feel unearned as they seem to have no agency of their own. In DAI, if Cassandra has low approval then you can get a scene where you call her pathetic as she's stumbling over drunk and yells at you for ‘coddling mages’ or in high approval she can have a scene where she says something along the line 'while she doesn’t agree with everything you have done, she admires you.’ or in DAO Zevran can either betray you and go back with Taliesen/Crows or he can tell Taliesen he is not going back. Even something as small as the characters greetings change based on approval status when you visit them at skyhold. There are tons of examples I could give from previous games, but not a single cut scene seems to change with your companions outside of the final decision you make for them at the end of their companion quests. And to add on top of this, the party members all get along perfectly. If they disagree it is quickly resolved and moved on. Where are my Fenris and Anders fights or Vivienne and Solas sassy quips towards one another?

- No religious themes in the new game feels so out of place as this game literally changes the fundamentals of religious beliefs in the world of Thedas and could cause for a complete uproar with those that believe in the Maker and Chantry. The first game opens with an excerpt from the Chant of Light explaining the origins of the Blight and the Chantrys version of the truth and the whole mage/templar battle which is such a major theme (especially in DA2) in this series is due to the Chantry and this new info shows that the Chantry is wrong (or partially) and this can actually be completely missed behind a side-quest? Also, are we supposed to believe that all the Dalish just know Solas is better than Elgar'nan now? Strife say something along the lines that while Solas may be a bastard he is better than the other Evunaris" WHEN WAS THIS ESTABLISHED? Solas directly talks about how when he tried to tell the Dalish his identity they either didn't believe him or attacked him for being the God of Lies and Trickery. Yes, it has been a few years, and more may know the truth now... but how many as according to the old games the Dalish WORSHIPPED the ground Elgar'nan walked. If so many like Solas now from knowing the truth suddenly, where are all the followers for the Dreadwolf? Not only do we not have any missions regarding the agents of Fen'harel, we don't run into any at all.

- This sounds bad out of context, but where is the slavery/racism? I know a lot of people wanted them to tone some of it down, but for it to be completely removed just does no feel right when Tevinter is canonly known to be the worst place for slavery when it is openly practiced and legal... Also, playing as an elf feels very out of place during an undercover quest with the Venatori, but they already had them working for Elgar'nan which doesn't really add up either; so I guess they are just fine with Evles now after thousands of years...

- None of the previous games matter. While fundamentally, each game has their own story, I liked seeing the cameos of characters reflect past choices. One, of many examples, would be that we got to see Alistair either become a drunk in DA2 and forgotten by the narrative; or have him become a King or Grey Warden in DAI where you can even ask him about the Hero of Ferelden and his answers are different depending on how you played the game! Now we have some characters return but as a blank slate as the writers did not want to invalidate previous choices, but essentially let the characters' cameos fall flat because of this. What is the point of a character returning if they don’t reflect the character I know and helped them become what they are today through my choices?

I know I have a lot of negatives even when I said I liked part of the game, but it is a huge disappointment as the reasons above are what made me LOVE the series with it being so enriched with its environment and now it feels like a hollow shell of itself.

[ebenelephant]

Look, I think you're misconstruing some of my points and since this is reaching way farther than I wanted I would like to clarify for a second. This was kind of a bit of a rant post which I didn't expect people other than like 4 mutuals to... see? So as you can imagine I wasn't exactly my best articulated. Some of my points have definitely come across wrong, so to try and explain what I mean a little better:

I'm not saying we should see more flashbacks to Tom's life. This is a criticism I have of this plot point not being thought through, more than anything. It tells us something other that what was probably intended because you get the impression that Rowling didn't really consider the wider implications of what she was saying in the time period it was set. I'm not suggesting this should be delved deeper into, I'm just suggesting that it wasnt the best thought through.

With the Weasleys I just messed up the timeline on this one. I do genuinely have issues with some of the portrayal of the Weasleys which I won't get into, but this one is my mistake.

The Snape one is more of a personal gripe. My tongue in cheek remark about being "surprised you caught onto that" is in reference to the fact that I have heard/seen multiple people just glossing over that context to his life entirely - either because they missed it of because it was too minor for them to care.

My issue with the Hermione thing isn't actually that she obliviated her parents – as you say, this makes sense with her character – but rather how underutilised they are. We meet the parents and guardians of other, less important characters when they're thematically and narratively relevant, and given how important Hermione's status as a muggleborn is in the books you would think they would be both. It always seemed a weird choice to me that her parents are practically non-entities, spoken of occasionally but never seen. It's the show-don't-tell thing: we are told that Hermione loves her parent a lot, and of course we know this to be true, but the biggest time they are really relevant is when she obliviates them. Even if Harry had just seen them once, maybe sending Hermione to platform 9¾, and had seen them in contrast to the Dursleys this would have given them more weight. Hermione is distraught, but we as the reader are much less emotionally involved because we have no idea who these people are.

The Lily point honestly feels like a bad faith arguement, because she was never just 'the main character's long dead mum', she was the person who saved him, who made him the chosen one, who is referenced throughout the series, and who is directly related to the actions of multiple characters. I would literally just like consistent characterisation for her, because the way she is spoken about doesn't align with the ways we see her acting in the few scenes she has, and even in those scenes she is somewhat contradictory. This is never addressed by Harry the way it's addressed when he learns the negative qualities of his father – though in a book targeted at a 9-12 audience you would certainly expect it to be. This makes me think, again: oversight. Kids books have to guide the reader somewhat, and this aspect doesn't really do that. Could've been a great addition to that "nobody's perfect" theme JKR had going, but wasn't executed in a way properly accessible to a nine year old as opposed to other points in the series.

thinking again about jk rowling being a bad writer. like, we all know about the massive flaws in her worldbuilding and i hope by now it's clear she's a bigot on basically every front. (hello, regular reminder that she doesn't even actually like women.) but like. she's especially good at dropping bits of lore and then those not being relevant in the fucking slightest. riddle was told to go home to his orphanage in london during what would have very much been the blitz? whatever. the weasley's are so strapped for cash that they're sending their son to school with a potentially dangerous broken wand? of course they're spending their lottery winnings on visiting their adult son in egypt, what else would they do. snape grew up in what was likely a dying northern industrial town with abusive/neglectful parents, largely cut off from the magical world? almost impressed you caught on to that, with how little it's expanded on. yes hermione has a supposedly good relationship with both her parents, no we're not going to show you it at all, yes she's going to wipe they're memories like it's nothing. lily evans is the moral compass of james and basically the most important person in the series but fuck you if you want to actually know anything about her lmao. even what little we see is wildly inconsistent.

[nightlyrequiem]

How would Valeria deal with a significant other who is a pop star? How would the two navigate a relationship like that considering that one of them is in the spotlight?

Oh there is lots of potential for angst here.... but I have to reel myself back and keep things happy.

What an interesting dynamic too. In the real world, I feel like Popstar!Reader would be in hot water for dating such an awful person.

Valeria x Popstar!Reader

I don't see Valeria as the type to listen to pop. A few songs here and there but I think she prefers 90s rap or even dramatic classical music. She had heard some of your songs playing on the radio and liked them enough to give your name a little search. She found you pretty. You had a few scandals, as comes with the job. The music industry is cruel after all.

Maybe it was drug related, relationship drama, you being 'rude' to paparazzi even though you were only standing up for yourself. Her interest in you starts off as not much. She likes some of your music and thinks you're pretty but then she slowly starts lurking about on your socials. She doesn't follow you but she regularly checks to see if you've made a new post or a new story. Then she starts saving pictures of you. Any kind that catches her eye but a lot of them are you in more revealing outfits.

She feels frustration and jealousy whenever she sees you with friends. You posted one story where you were side hugging some guy and she was in a foul mood all day. She firmly believes that if you and her had met that she'd have a chance with you.

And meet you she did! Maybe you live in Mexico or maybe you're on tout there. Either way, by some stroke of luck you wind up in Las Almas. You were at a club, and Valeria was also at the club. The rest is history.

Valeria did in fact have a chance. Surprising to no one really. She is one fine specimen. After a few drinks you two ended up in bed together. it turned from a one night stand into something more.

It wasn't like she thought though. You're famous. You preform. You're a goddamn popstar. Which means you're on social media a lot. Which means you receive a lot of attention. You have a lot of people in your DMs. Not that you really see or answer them. There's just too many for you to do that. But Valeria sees them. You had also posted a story of the two of you cuddled up on the couch. Now everyone wants to know who she is. What she does, and she doesn't like that so much. It's not good for her line of work after all.

It's also a bit of issue for you. Cancel culture isn't real and I stand by that, but some people are unnaturally obsessive and critical of everything a celebrity (Specifically women) does. See Chappel Roan. You feel nervous that someone will somehow figure out what Valeria does for a living.

There's also the matter of you leaving constantly. Going off on trips and tours. It puts a bit of strain on the relationship. Valeria is irrationally worried that you're cheating on her. You've come to an agreement though. Every night, after every show you either call her or send her a text. Just to make sure you two are communicating. Sometimes the time zones are too different and one of you is asleep by the time the other responds but it works. You also send her videos. Of the crowds or of you in your hotel room. Sometimes though, she’ll join you. Not on stage of course but she’ll put on a hat and attend a concert or two to support you. Amazed at how monolithic you seem.

You two also decided that you won't post Valeria at all. and when you talk about her you have to be as vague as possible. For the safety of both of you.

In short, it’s kind of difficult for you two. There’s a lot of issues that need to be resolved but Valeria likes you enough to actually fix them with you.

[crehador]

parting thoughts on ragna crimson (first cour)

i think it was... the first episode? that i didn't really vibe with. felt like a decent enough fantasy, but unremarkable in just about every way

THEN A WEIRD GUY APPEAR

iirc it wasn't until the second week that we really met crimson, which is kind of a shame because imo the show doesn't really start to come together until then. i like ragna well enough, but it's really the combination of the two of them that compels me

always love a duo where they have the same goal, but drastically different personalities/values/modes of operation/etc

always extra love a duo that's like "team up with me, a dragon, to kill all dragons then once we've achieved our goal you'll kill me too"

(like vanoe but with dragons. i think. my memories of vnc are actually very hazy)

and always extra extra love when ayu gets to just do his thing, playing guys who are girls who are guys who are etc etc etc

it's certainly not the best of the season, and still overall fairly unremarkable imo, but also not really bad in any way. if there's one thing i find lackluster i guess it's that i feel like they don't lean enough into this... pseudo-past life thing that ragna has going on (with the powers and presumably memories of his 'older self' passed down to him)

like ragna is still more or less his 'normal' self in terms of personality, which is fine, he's got a fun enough personality, but if he had some like... old man tendencies mixed in there, or if we saw more of his memories with crimson maybe? i don't know, just feels like something more could have been done with that fusion of past and present (or rather future and present)

looking forward to the second cour but at the same time... hoping this series won't be too long lol

[benevolenterrancy]

("Always. Continuously. With increasing apprehension, and decreasing hope. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you as a corpse loves the beak of the vulture. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this." -- paraphrased from The Beatrice Letters, Lemony Snicket)

[dadrielle]

I am going to treat this as being in good faith even though I know you have copy pasted this same response on multiple posts.

It's fair enough to see this post and roll your eyes about it. I am being a sarcastic lil bitch about implications that really aren't meant to be there! Liam absolutely didn't mean to do this as an "Orym doesn't trust them" or "Orym doesn't respect their boundaries" thing, and I know that. And I know no one in game is gonna read it that way, either. I didn't tag this Orym specifically because I was picking at a small thing irritably and I fully acknowledge that.

But! There are 3 things I want to say to this on a more serious note.

First, I think we must acknowledge that the implications of listening in on one's friends over listening in on one's enemies are quite different. People have different reactions to different applications of Observant because the social stakes and boundaries are situational. It means something much different to punch an enemy combatant in the face than it does to do the same to your best friend, you know? And Orym is not omnipotent; he does not just automatically know everything that happens, despite how we all joke that he can see god with his high perception. When he chooses to listen in should matter, as should the implications. That's actually my main issue with this whole thing, but I'll get to that in a moment.

Second, I would just like to say while I'm sure you believe it's true I and others critical of Orym don't talk about any of Orym's actual flaws, the fact of the matter is there are many fans who do most of our character discussion privately with our friends instead of tumblr or god, even worse, twitter. And my Orym feelings aren't identical to every other person who is critical of him. As I said in the initial tags for this, I don't think this was the worst thing in the world, it just bugged me! That was just an emotional response, and those often pass. There are lots of moments in stories where my initial reaction is a strong negative emotion, because I am feeling the feelings of the moment, but then I love the full picture it creates. Imogen and Laudna's "did we break up" phase is a great example of that, especially Laudna's ongoing insistence that she was a dead end. It hurt to watch! It made me sad! But it really enriched the narrative! My actual, continuing issues with this Orym moment have nothing to do with Imodna, or the meanings of this moment in particular. It's just another expression of something I've been grousing about among friends for ages. I actually WISH it was Orym being fucked up, that it was something that would come up again later, something he might get push back on. I wish the implication that he feels the need to monitor Imogen and Laudna, that he isn't thinking about how they might feel about it, was a flaw that would be explored with the other characters. Instead it was just kinda there and I imagine no one else will ever have a reaction to it one way or another.

And that leads to the final thing: my biggest issue with Orym listening in is that it DOESN'T matter. It feels like at some point, Liam stopped having Orym engage with other characters and the narrative as actively. It's started to feel very repetitive, and I am deeply frustrated with it. I know he is a reserved, PTSD-laden soldier who uses his hard line morality and sense of duty to hold himself together, who refuses to tell his friends how he feels because he doesn't want to be a burden. I know this! And I think it makes for an interesting character and I want to love Orym as much as I used to. But this is an interactive game, an ongoing narrative, and after a certain point, choosing to have your scenes be solo and keeping your character from changing any of their stances starts to feel like refusing to give other people room to react and challenge your character, and refusing to engage with how others' narratives have changed. What Imogen expressed about not running in this episode isn't a revelation. She has, at this point, been saying some variation of it for about half the campaign. And he has told her he is proud, before. It was nice, then! But listening in to their conversation here and feeling proud in isolation didn't add anything new to the narrative. It could have, if it was a conversation, if he had talked to Imogen directly. But instead it feels so empty to me. Disconnected. It even sort of re-framed the moment as if it was about Imogen Finally Choosing To Not Run, instead of being about Laudna trying to reaffirm a future that keeps slipping from their grasp, one she only just started to believe in again on the precipice of Imogen possibly sacrificing herself for the world. It makes it seem like Orym has barely moved on from the solstice, like he hasn't registered how Imogen's narrative has developed since then.

There are so many things I would love to see from Orym that require acknowledging that things have changed. I wanted him to talk to Dorian instead of chasing after Dorian's dad to say he should be proud of Dorian, especially since Dorian had already had his big cathartic conversation. I wanted him to ask why Dorian has come to hate the gods so much, to ask him why it wasn't just the Spider Queen he was mad at. I wanted him to talk to Fearne about the fact that people outside the party have treated her with the same anti-Ruidusborn suspicion as Imogen, particularly in light of their conversation about taking Imogen out pre-solstice. I wanted him to actually internalize that he was wrong about there being nothing beautiful in Exandria before the gods, and to talk to Ashton about it in a way that starts with him actively listening to Ashton instead of just repeating the same arguments, even if he came out the other side still disagreeing. I wanted him to realize that there hasn't been any danger of Imogen running and that the core of her struggle now is with the fact that she's being asked to sacrifice herself. I wanted him to talk to someone about his guilt over killing Zathuda. I wanted him to acknowledge the hardness he put on when he tossed the locket on Bor'dor's corpse and declared this was war and what that hardness did to him. I wanted him to work on his flaws and talk to people! But instead, he listened and reacted in isolation. The fact that his reaction to Fearne asking him if he was ok as late as episode 95 was just "then why ask? You know the answer" instead of opening up is narratively a problem for me. The few times he has opened up a little have been wonderful but he's still holding most of it to the chest. So many emotional Orym scenes are people talking to him about his emotions and him not responding. We're in too deep, man! "If not now, when?" doesn't just apply to kissing Dorian, you know? He is running out of time to open up.

So. Do I still think listening in on that moment was sucky of him, even beyond the hyperbole? Sure. I think generally purposefully eavesdropping on something like that is sucky. It's a small kind of sucky, though. A blip. Because this is a story, the big sucky thing is that it didn't mean anything for any other character and felt just narratively disconnected. And I find that so frustrating because there are so many potentially meaty, interesting things possible in Orym's story, and I desperately want that richer narrative for him and for Dorian and for all of them.

You might not agree and that's fine. To paraphrase Orym's own words, every one of us forms our own interpretations with the lenses or prisms we see life through. Of course I'm gonna get more het up when this ongoing, general Orym frustration touches on something Imogen or Laudna related - they're my favorites! Of course that influences how I see things. I know they aren't everyone's favorites, so something like this moment won't be a domino-kick on tangentially related, piling frustrations for everyone. But it is for me. I'm not really trying to convince anyone I'm right, here, just to explain why I feel this way about it.

Sure would be fucked up if Imogen and Laudna, until only recently, had every single one of their private moments observed against their will, and then their friend decided to observe possibly their last private moment against their will, huh? :)

[bixels]

The Ryoko Kui interview's reception is such a disaster over a pretty normal (yet still flawed) interview between a non-Japanese fan and Japanese artistic. This is discourse for discourse's sake, and it's no surprise that almost every Twitter user I've looked at who's using this interview to parade Kui around as a goated mangaka standing strong against Western ideology is anti-trans.

Like, I do think the interview was kinda wonky with its focus on fandom culture, which Kui clearly didn't have much interest in. But sometimes that happens. Sometimes interactions between two people, especially a fan and a creator, two people who view and interact with a piece of media in completely opposite perspectives, don't click. Does this really need to get blown up into a "West vs. East culture war" issue.

Anyways, Kui saying "I don't consider my audience's interpretations when writing. I leave it to their imaginations, but I have my own read on things too" is the healthiest, most normal thing an artist/writer who wants a non-parasocial audience could say. Artists and writers use this line all the time. If Kui didn't enjoy autistic Laius or Farcille headcanons, she would have probably voiced/signalled her discomfort, like she did on the topic of Senshi fanservice. Overall, Kui handled the interview really well. Props to her to sticking to her guns and keeping a healthy disconnect from the fandom. While I think the interviewer could've/should've been more tactful and restrained, the flaws in their questions is not a symptom of the woke mind virus trying to wriggle its way into the pure Japanese psyche. It's the sign of an over-eager fan who sees a piece of fiction differently than its creator.

[skippingthroughfields]

one thing that's missing from these convos about amc not submitting assad zaman for a golden globes nom that makes it 10x more malicious on amc's part is that a nomination isn't just like oh... ~simple appreciation for an actor's performance. even if there's no win, it results in a profile boost for these actors & them being able to command a higher salary when it comes to future projects. it's something that gets notice on their CV. these studios and networks love being able to market their shit with things like "starring golden globe nominee john doe" or "emmy winner jane doe." the emmys are more prestigious than the golden globes which are more prestigious than the critics choice awards (the one they submitted him for with two other actors lol). actors get nominated and have the opportunity to get attention from social media posts, article mentions, attending the red carpet, having their name announced and a little clip of their acting shown. that's not nothing! attention from possible new fans, publications, execs, peers, producers, directors, fashion houses & other industries which could lead to $$$ and sponsorships. I won't make any presumptions about the cast's finances but I do know amc is probably not paying them their worth, least of all the bangladeshi muslim who barely had any major roles in tv/film prior to the show.

there are fees and costs associated with submitting for awards consideration and FYC ads. the network basically took a look at assad's brown skin and name and said they don't think he's worth the money over the white actor who had less screentime and narrative importance (to the season ig) which is absolutely crazy lmao. it shouldn't be controversial to say that and you can't not discuss this without bringing up sam's name. this has nothing to do with whether he "deserved" to be submitted (and even if I said he doesn't deserve it over assad who's gonna beat my ass?). this white man isn't being persecuted by conversations about blatant racism. but I'd expect nothing less from this fanbase x.

[bayetea]

to be honest I think the fact that a very significant proportion of people found jason/his povs to be uniquely boring is more evidentiary of a writing flaw than something being wrong with the readers who felt that way

[coldgoldlazarus]

This is also why I'll always prefer the stylized Miramax approach to portraying the characters. It keeps that visual language from the pieces, but isn't bound by them, and it winds up feeling so much more authentic to me. I can sorta understand the people who prefer the stuff that looks more like the sets, like the Ghost Animations and TLR, or at least respect their right to their opinion, but that just feels so reductive to me in a way.

(I will say that my one gripe with the Miramax stuff is the way eyes are melded into the masks rather than visibly set beneath them, making it harder to see them as masks a lot of the time, and I do wish they had the same level of... crispness, as Ghost's rendering style, but that's neither here nor there.)

I also really love seeing the set prototypes and how it shows how kitbashed chunks of older parts evolved into newer ones, helping keep that consistent visual language going forward even as the style of the builds evolved and new aesthetic ideas were added on top. (The mix of industrial structural kludge and refined angular art deco influence of the Metru-era sets, the Piraka/Inika piston overdose and use of blocky, chunkier textured design elements, the Barraki/Phantoka organic sleekness, and the Glatorian emphasis on elemental aesthetics.) That so much of this got cut up and remixed into new molds also really helps maintain a certain level of consistency among the variety, a perfect balancing act that really makes the universe work.

I also feel like this is what people were kind of trying to get at when criticizing G2's aesthetic, but couldn't quite articulate effectively. We wanted to see new shells and addons that also carried forward the design languages G1 had established, but that thought just came out as "moar pistons!" which is how we wound up with the minor travesty that is the Uniter Torso armor piece. Maybe calling it a minor travesty is a bit much, since I respect the intent at least, but I still don't like it; whether due to the fandom's badly-communicated complaints, or failure to understand on the design team's part, it feels like it's trying to be a compromise between the new and old aesthetics but doesn't really manage to fulfill either all that well.

But yeah, I really like how much distinctiveness and personality the original run had; it's a unique and difficult to replicate set of design ideas, that evolved interestingly across Slizers and Roboriders, G1's decade lifespan, and even the first year of Hero Factory. Sometimes I feel like even the modern fandom's 3D modelers sometimes fail to capture it in an authentic way, but at the same time I do love some of the newer spins I've seen put on it. It's just a really incredible visual identity.

so, random little tangent that came from looking at the old bionicle pens

there’s something about that white bead in the middle, the piece that’s essentially two bohrol limbs smushed together, and it kind of makes me think like… bionicle was never just about the parts the toys were made of

like, all across secondary media and even just firsthand media, you can sometimes see combinations of parts that never existed. the toa hordika’s arms in wos, for one, the way those worked they were clearly pulling from different parts but blending them together to create the look they wanted, some of that happens in the bionicle heroes console game too, they’re not bound to just what appears in the sets

and then you open up the rahi and dark hunter books, and you see these creations that sometimes use things that aren’t lego to hold themselves together, rubber bands and illegal connections, some stuff you’ve never seen in a bionicle set before (probably because it came from a roborider or a slizer but that’s besides the point)

and you see the way that giant parts are strewn about on the surface of bara magna, or making up sculptures in po-metru, and maybe they’re split in strange ways, or they’re overlapping, but you get the sense that, unlike in the toys, these shapes are mutable, they aren’t just static parts that you make the robots out of, they’re almost ideas, visions of anatomy from a world foreign to you

with all of this, it feels like bionicle was always more than just toys. it was more than something you could hold in your hand, there were ideas that you can see and understand but that were beyond your reality, things that didnt exist but could, and that’s how you knew it was more than a toy. the toys were glimpses into a bigger world, representations of living characters, not just plastic playthings but something greater than that

so yeah, there’s more to this silly little customizable pen than i think they intended, and i think that’s great

[skrunksthatwunk]

actually i'm still thinking about the moral orel finale.

he has a cross on his wall. do you know how much i think about that bc it's a lot.

a lot of stories ((auto)biographical or fictional) centering escape from abusive/fundamentalist christianity result in the lead characters leaving behind christianity entirely. and that makes complete sense! people often grow disillusioned with the associated systems and beliefs, and when it was something used to hurt them or something so inseparable from their abuse that they can't engage with it without hurting, it makes total sense that they would disengage entirely. and sometimes they just figure out that they don't really believe in god/a christian god/etc. a healthy deconstruction process can sometimes look like becoming an atheist or converting to another religion. it's all case by case. (note: i'm sure this happens with other religions as well, i'm just most familiar with christian versions of this phenomenon).

but in orel's case, his faith was one of the few things that actually brought him comfort and joy. he loved god, y'know? genuinely. and he felt loved by god and supported by him when he had no one else. and the abuses he faced were in how the people in his life twisted religion to control others, to run away from themselves, to shield them from others, etc. and often, orel's conflicts with how they acted out christianity come as a direct result of his purer understanding of god/jesus/whatever ("aren't we supposed to be like this/do that?" met with an adult's excuse for their own behavior or the fastest way they could think of to get orel to leave them alone (i.e. orel saying i thought we weren't supposed to lie? and clay saying uhhh it doesn't count if you're lying to yourself)). the little guy played catch with god instead of his dad, like.. his faith was real, and his love was real. and i think it's a good choice to have orel maintain something that was so important to him and such a grounding, comforting force in the midst of. All That Stuff Moralton Was Up To/Put Him Through. being all about jesus was not the problem, in orel's case.

and i know i'm mostly assuming that orel ended up in a healthier, less rigid version of christianity, but i feel like that's something that was hinted at a lot through the series, that that's the direction he'd go. when he meditates during the prayer bee and accepts stephanie's different way to communicate, incorporating elements of buddhism into his faith; when he has his I AM A CHURCH breakdown (removing himself from the institution and realizing he can be like,, the center of his own faith? taking a more individualistic approach? but Truly Going Through It at the same time), his acceptance (...sometimes) of those who are different from him and condemned by the adults of moralton (stephanie (lesbian icon stephanie my beloved), christina (who's like. just a slightly different form of fundie protestant from him), dr chosenberg (the jewish doctor from otherton in holy visage)). his track record on this isn't perfect, but it gets better as orel starts maturing and picking up on what an absolute shitfest moralton is. it's all ways of questioning the things he's been taught, and it makes sense that it would lead to a bigger questioning as he puts those pieces together more. anyway i think part of his growth is weeding out all the lost commandments of his upbringing and focusing on what faith means to him, and what he thinks it should mean. how he wants to see the world and how he wants to treat people and what he thinks is okay and right, and looking to religion for guidance in that, not as like. a way to justify hurting those he's afraid or resentful of, as his role models did.

he's coming to his own conclusions rather than obediently, unquestioningly taking in what others say. but he's still listening to pick out the parts that make sense to him. (edit/note: and it's his compassion and his faith that are the primary motivations for this questioning and revisal process, both of individual cases and, eventually, the final boss that is christianity.) it makes perfect sense as the conclusion to his character arc and it fits the overall approach of the show far better. it's good is what i'm saying.

and i think it's important to show that kind of ending, because that's a pretty common and equally valid result of deconstruction. and i think it cements the show's treatment of christianity as something that's often (and maybe even easily) exploited, but not something inherently bad. something that can be very positive, even. guys he even has a dog he's not afraid of loving anymore. he's not afraid of loving anyone more than jesus and i don't think it's because he loves this dog less than bartholomew (though he was probably far more desperate for healthy affection and companionship when he was younger). i think it's because he figures god would want him to love that dog. he's choosing to believe that god would want him to love and to be happy and to be kind. he's not afraid of loving in the wrong way do you know how cool that is he's taking back control he's taking back something he loves from his abusers im so normal

[bitchthefuck1]

It's always so funny to me when people call Kaz a serial killer or a murderer bc like. boy do I have news for you about the other crows.

[nellasbookplanet]

Do I actually think Imogen is going to turn on the party? No. I don't think it’s any more likely to happen than I did Fjord releasing Uk’otoa, or Caleb returning to Trent and the Vollstruckers.

Given the nature of the game, any character turning fully dark is unlikely, seeing as it would take them away from the party for a time or potentially even turn them into an npc, replaced by a new pc. So far the only time we've gotten close to seeing something like it happen was Yasha siding with Obann, which could only happen specifically because Ashley was gone from the table for a long time (it was also the product of mind control, not an active choice to turn dark, and as such still doesn’t really count as a pc turning on the party in my eyes).

But the possibility is there. The seeds planted. Travis has talked about how, after he threw the falchion away, he briefly considered having Fjord leave the party and retun to the coast and Uk’otoa. Liam has mentioned that, early on, Caleb returning to work for Trent was a very real possibilty. It can happen, if the players and narrative are open to it.

And now, canonically, Imogen is desperately and understandably searching for a reason not to have to fight her own mother. She is, however briefly, questioning whether the Ruby Vanguard might have a just cause. Much as she hates it, she also feels the allure of the power Ruidus gives her. Her closest ally is someone who has repeatedly assured she will stand by her no matter what she chooses, even after she voiced the possibility of letting Predathos get out. None of these parts of Imogen are evil, and all of them are understandable and deeply rooted in pain and ostracization, but they could very easily be turned into justification, were she pushed enough.

The seeds are planted. Again, I don’t think it will happen (she seems firmly against the evil plan when reminded of how evil it is), but there’s certainly nothing strange or hateful about engaging with and being interested in the darker possibilities as presented in canon. It isn't character hate to acknowledge that Imogen has the potential to go dark, much as Fjord and Caleb and Yasha. To me, it’s what makes her character interesting. I want to see her clash with the party, whether because she’s desperate to save her own mother or because she’s high off the power of Ruidus and lured in. I want to see Laudna have to choose between the world and her promise to stand by Imogen no matter what. I want to see the fallout, the slow healing and redemption and coming to terms with bad choices. I eat that shit up, and if it doesn’t happen in canon I'll probably go read some fic about it to get my fix.