#i have to say everything with such nuance

[sapphiresaphics]

^^^ Agreed. This criticism I keep seeing of people being upset Zaun is still oppressed kinda shows how few people actually understand how systemic issues work.

And as a thought experiment I have to ask… what exactly were people expecting to happen? Zaunites would fight with Piltover and all the wealthy elites would just magically give up decades of hate and superiority over the lower class?? Did they think everyone was just going to come together and solve systemic issues in one episode after they spent 17 previous episodes explaining how deep and long these issues have existed for? Mel used her influence to add Jayce (a piltover elite) to the council and even THAT was deemed as revolutionary for them. How on earth do people think Piltover would’ve made the council half and half to even things out?

Like that stuff doesn’t even happen in real life. Did fighting the civil war solve racism?

I just don’t understand this criticism because it just seems a little cheap to me. People say they preferred season 1 because it dealt with the classism issue, but then demand an ending that ignores all that nuance so the classism is just gone and everyone can live together in peace. That’s so bizarrely hypocritical and cognitively dissonant to me. If Arcane ended with Zaun being 50/50 on the council and everything between the cities just forgiven, that would’ve felt even more far fetched and ridiculous of an ending to me.

I'm actually not really happy with how this show concluded. Maybe I'll make a more detailed post about it but to sum it up: the way they handled the Zaun / Piltover conflict cheapens this show immensely. This whole "power of friendship" bullshit after Piltover oppressed the undercity for who knows how long and in the end nothing really changed, Zaun still isn't free and Piltover acknowledged nothing of the stuff they did, just annoys me. They lost the plot so bad.

Putting Sevika on the council as the only Zaunite, as if she alone could outvote the Pilties and thinking this is a good ending for the undercity is insane. Zaun should've been free. Or at the very least have an equal amount of Zaunites and Piltover people on the council to even it out.

[gaylactic-fire]

I will thank HTTYD live action for one thing, and that's reviving my interest in this franchise like jumper cables to the heart.

Anyway, my controversial HTTYD take is that the second movie feels more emotionally mature, and it continues to resonate more with me the more I've grown into adulthood. It's the cautious optimism... It's the fact that you can't change everyone's perspective, and sometimes you need to fight for what you believe in... It's the fear of adult responsibilities that feel larger than life, only to realise that instead of running you have to try... It's the knowledge that the world may try and strike you down, but the bonds you've created will bring you strength in an uncertain future... do you feel me?

[fandom-geek]

act 3 thoughts

well, i guess it looked pretty.

i didn't actually think it was possible to rush vi/caitlyn after s1 but uh... they managed it. i actually feel pretty bad for fans of that ship? like wow, they basically had zero build-up after the reconciliation (especially for the weirdly placed sex scene) and now vi has no one but cait (assuming she doesn't know that jinx is alive) and they're "happily ever after". and i'm saying this as someone who has had zero investment in caitlyn since s1, lol, so i can't imagine how ppl invested in her story feel.

and sevika just literally might as well have not existed after episode 4. like i guess i'm happy she's zaun's only council member against six pilties, but like. s2 basically refused to engage with the zaun/piltover conflict besides attributing it to individuals like caitlyn, ambressa, and jinx. the closest we got to acknowledging there were institutional reasons was the alternative universe in s2, but even then... vi dies (and possibly jayce and viktor too???), there's no hextech or seemingly shimmer, and suddenly zaun is thriving? and having silco show up, having forgiven vander, just felt like the same shallow fanservice from the flashback earlier in the season.

which ties into how everything got subsumed by the arcane subplot. i get that they needed to join the plots up at some point, but war between zaun and piltover seemed like a pretty solid bet, narratively.

having seriously looked forward to how they were going to deal with mel being a mage and viktor being the machine herald. i am impressively disappointed. no machine herald here, only the arcane herald. i guess his final design was cool, but i wanted to see fortiche's take on the machine herald. having him reinvent himself as the machine herald in response to the arcane taking his bodily autonomy would've been cool, but i guess he's cool with using his inventions as weapons now if it means he gets to evolve more people. after hearing and reading so much about the nuance of the conflict btwn him and jayce in league, i am painfully disappointed that we didn't get any of that. and the lack of resolution as to whatever was going on with skye, so instead she was just a plot device for viktor's character development for the entire show? god, in hindsight her narrative treatment was the first red flag over where the writing was going.

also a bit disappointed that jayce's mysterious mage didn't turn out to be ryze despite the various hinting at it (didn't even netflix themselves imply it at one point?).

and poor fucking mel, she kills her last surviving relative and her boyfriend just disappears without a trace and she's forced to renounce her compassion and adopted home to embrace her noxian heritage. i don't know if massively depressing stories are on par for mages in runeterra, but her ending was just utterly tragic. she has no one left, just a faceless army of soldiers.

jinx's fake-out death is like. urgh. i get why because it means piltover leaves her alone, but there's just a ton of emotion in a moment that you immediately undercut at the very end.

for all they said that s2 was written alongside s1, it felt like they needed another season (you know, if this wasn't so expensive to produce) to properly pace stuff out so it can be developed properly. like, spending an entire episode on alternate universes when you have three total left is utter madness. it should've been 1/3-1/2 an episode at most if they kept the same episode count.

but given their apparent willingness to throw fanservice in (felicia & silco flashback) when it doesn't exactly make narrative cohesion with s1, i'm not sure if that was possible or meddling by someone else or whatever.

oh, and rip blitzcrank. too innocent to exist in arcane, i guess?

[everliving-everblaze]

Fitz's characterization is so interesting and so hard. He's both very kind AND a bit of an entitled jerk, and most people only manage to capture one of the two.

I think this is well-illustrated in the first few chapters of the series. Fitz and Sophie spend a lot of these chapters rolling their eyes and sniping at each other, because they both have an attitude about the whole thing. In particular, Fitz has his attitude about elvin superiority, and Sophie immediately responds to that negatively.

He'd never heard of Albert Einstein? The theory of relativity was dumb? She wasn't sure how to argue. He seemed so ridiculously confident—it was unnerving.

On the other hand, it's very clear that Fitz's heart is in the right place (or at least, a well-meaning place). He has his attitude of elvin superiority, but he's thrilled to welcome Sophie into it as well.

Fitz nudged her arm. "Hey. It's not your fault. You believed what they taught you—I'm sure I'd have done the same thing. But it's time you knew the truth. This is how the world really works. It's not magic. It's just how it is."

(And undoubtedly, he's right. He would have believed what he'd been taught—he did, just different beliefs!)

The thing is, Sophie doesn't particularly want to jump aboard the elvin superiority train that he's so excited about.

"Well, it's like you're saying, 'Hey, Sophie, take everything you've ever learned about anything and throw it away.'" "Actually, that is what I'm saying." He flashed a smug grin. "Humans do the best they can—but their minds can't begin to comprehend the complexities of reality." "And what, elves' minds are better?" "Of course.

Fitz reads as a total jerk with what he's saying! He's completely ignorant of the fact that his belief that humans are stupid and evil is like, gonna hurt Sophie's feelings. Because that's what he's been taught!

I've said it before, and I'll say it again: Fitz's character is hugely about prejudice, about people who believe what they are taught, even though it's wrong. And his character is about those people who then have to relearn their beliefs!

Fitz makes so much progress throughout the series in combating his own prejudice, largely through befriending Sophie. His character arc is one of my absolute favorites from any media, ever. I've gone through a lot of the same things he has, having to learn about prejudice and deal with my own biases, the lies that I was taught. His character is very meaningful to me!

But I think that's a piece that so often gets missed when people try to capture Fitz's character. Some people only see the bad parts and choose to portray him as totally evil. Some people focus on the good parts and portray him as more of a victim.

But I don't think either interpretation is totally right. Fitz is nuanced. He means well and truly tries to be kind within his worldview, and once he truly starts to realize his worldview is bad, he works on it! That's way more than a lot of people do. But he he makes a lot of mistakes along the way.

That's a fascinating, relevant character. And that's why he'll always be one of my favorites.

[dufferpuffer]

(Note: idk the characters OP mentions or what they are from, I wanted to talk about peoples reaction to disability rep in general)

I think it's fantastic when non-disabled people talk positively about disabled characters, even if they do it a little clumsily (though not in the face of disabled people critiquing it... yeesh...) Just like with other marginalized groups. eg: we can be happy about having more PoC characters... even if we might not fully understand the nuances in their representation. We can be taught about that nuance by those who do understand - and that's how we learn to understand better. That's awesome.

The thing that's annoying, as OP describes, is that - especially for disability representation - existence seems to be the bar for entry. They see a prosthetic and go 'Wowee! Good enough :)'

Maybe existing can pass as 'good representation' for some things - like race, gender or sexual orientation (arguably - important: it depends on the particular media) But that doesn't really work for disability.

Depending on the setting and themes of a narrative, being a different race, gender or orientation doesn't alter how you can live. Having a disability, by definition, DOES alter how you live.

Example: Innocent little kids show, where a bunch of kids go on adventures together, doesn't need to display topics like racism, homophobia, transphobia etc. to be good representation. The kids can just exist the same as everyone else - just existing is enough.

But a disabled kid HAS to be disabled. Their life has to be shown as altered in unique ways - otherwise it risks being harmful. It doesn't need to be anything big, or sad, or the topic of an episode... Infact it's often better when it isn't.

+ Have a character wake their friend up early, knocking on her window - she says 'Wait! Let me get my leg on!!' + They go swimming - and she takes her leg off to swim. + It gets really muddy, so she gets a piggy-back from a friend so she doesn't get her leg stuck. + Or it DOES get stuck and someone pulls it out for her. + She's training for a race and she switches her leg to a running one. + Maybe she isn't in an episode - the other characters can't rely on her skills to solve an issue, because its Physical Therapy day.

You don't need to draw attention to it, she doesn't need to suffer - but she has to be different. She has to live with different worries. She can't just be the exact same as everyone else, because she isn't like everyone else. That's what being disabled means.

If she just does everything everyone else does, with no thought put into the fact she has a fake leg other than 'one of her legs is blue'... you are teaching that disabled people don't live differently. But we DO. We HAVE to. A little kid seeing a character never put any thought into the things they need to worry about doesn't feel GOOD. It feels WORSE.

People of minority racial groups, and people of differing identities, dream of a world where that doesn't matter, they can be the same. Disabled people don't get that dream. Having a leg re-grown...? God, even thinking about the physical therapy, training to walk again... It would just be nice if there was more understanding, more facilities and support, that some of us need to live different lives.

...I am not an amputee. My digestive organs are all messed up - and I have PTSD. That is a very different experience to being an amputee. But I can talk about what I think is good or bad representation, even if it might be clumsy sometimes, because: I understand that good disability representation is in how the character is affected by their disability, not by just existing.

And that's what I would want to share with any non-disabled person who feels excitement seeing a disabled character: think about how it affects their life. Think about the choices they make because of it.

Toph from Avatar isn't 'cool disability representation' because her blindness is accurate or realistic. It isn't. It's fantasy blindness. It's cool because she has to live differently. She uses her bending to super-power 'see' - but not in water, or sand, or for flying things... There is no 'fix' that gives her sight back. Only tools to help. ''How does blindness affect how she can live'' has been considered.

So... you have a character 'you didn't even notice had a prosthetic'. Is there no way in which she is shown to act or think differently because of it...? That's not particularly good representation. There can still be cool parts of it that are worthwhile representation, like an interesting history, or design, or function... ...but she isn't disabled unless she is disabled. Yknow...?

I really wish non-disabled folks would stop commenting on weather or not something is good disability rep, especially when people with those disabilities are critiquing the specific things these folks are bringing up as examples of why the character is so good.

I swear, if I hear one more person say "I didn't even realise Neve was an amputee, that's such good representation!" I'm going to scream lol.

Also just to clarify, I don't think Neve is bad, my feelings on her from a disability representation stance are more complicated, but her disability having such a small impact on her that a shocking number of players said they didnt even notice it until she tells you how she lost her leg is NOT what makes her good. "You cant even tell she's disabled" is not a flex. We've talked about this. Twice.

Same goes for the inquisitor and Hezencost but they're pretty minor characters so I'm seeing less of it there.

[olderthannetfic]

It would do a lot of people well to keep in mind that "I am ashamed of this" and "I don't want to have that conversation" are two very different things (and neither is the same as "I would be unsafe if people found out", but people are generally pretty good at separating that one out).

Anecdote 1:

When I first started writing explicit fic, I was ashamed of it. I was worried what my friends would think of me (even though I knew objectively that none of them would care, and was very aware that many of them wrote explicit fic themselves) and I was embarrased and had some sex negativity baggage to overcome, so I made a second AO3 account. Now I've killed the cop in my head, as the kids say, and have told most of my friends who'd be interested about my fic, and and intend the merge the accounts whenever I get off my ass and have time for that project.

This was shame, pure and simple. I would have been better off if I'd been able to overcome the shame right away instead of spending all that time feeling like I had to hide a dirty secret.

Anecdote 2:

I have been dabbling with crossdressing lately. I'm a trans man and my family are supporting and accepting, but not very knowledgeable; pretty much everything they know about transness is stuff that I've taken the time to explain to them. They understand how important it is to me to be seen as a man, and when I first came out I explained, and they accepted, that wearing men's clothing is significant and meaningful and fulfilling for me. Crossdressing is something I'm experimenting with now that I'm more secure in my identity, and it's been pretty fun. I feel no shame or embarassment about this. But having to explain the intricate nuances of gender presentation, expectations, subversions, and how violating gender norms is fun would be a hell of a lot of work and I'm just not ready to sit my mom down and explain Advanced Concepts in Gender when she had to work to get a basic understanding of Gender is not Biology.

This is not shame. It's avoiding an awkward and lengthy conversation that I just don't see any point in having. So when my mom comes to visit I don't leave a skirt on the sofa. That's all.

Many people would say that my not wanting my mom to find out about the crossdressing is the same as my not wanting my friends to find out about the kinkfic. I knew my friends would be accepting of my fic, and I know my mom would be accepting of my crossdressing. Both are things that are perfectly fine, I should feel good about them, I shouldn't hide them. But hiding something doesn't necessarily mean you feel bad about it.

--

[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.

[lunchtimebedamned1997]

Arcane S2 thoughts

(spoilers, obviously)

Most of this was sent to my friend Penn @pennedinblood in discord first, but I wanted to share it + some more on here too.

Okay, I now that its been a couple days and I've had time to think properly, have some thoughts about Arcane. This isn't going to be as specific and nuanced as I'd like, but I'll need more time for something like that.

Here's the thing... What we did get was good and I liked it a lot - for the most part anyway - but like - it wasn't a very good finale imo...

Like -

In season one they had this just fucking masterful foundation for such a nuanced discussion of class and oppression, of the cycle of violence, of how desperate acts may seem evil to some but are not always as simple as they seem and that one person's actions may influence the narrative but that it is the systems in place - and the willingness to follow systems that harm a disproportionate amount of the population for personal gain - that are the real issue. There were no real villains in s1 imo. It was just people making good, bad, or neutral choices, and they all interconnected and effected not only the plot, but the audiences' understanding of the corrupt system in place.

It forced you (if you're paying attention) to understand with visceral understanding both those of the oppressed and the oppressors; and in the midst of all of that we had magic and science interplaying beautifully against the good and greed of mankind.

AND just vast, resonant, deep interpersonal connections and development that you could feel in your bones.

and then in season two... we just kind of went - 'fuck that here's jesus and a witch ~~~ Magic war tiiime' Like?????

It touched on a few themes for sure, and what Jayce had to say to Viktor about disability and the purpose of people, or the value in imperfection and the point of life - as someone who's struggled with their health and other personal things I don't want to get into on the internet, that hit so hard. I hated Jayce in S1, and he won me over in act one of this season and just - didn't let me down. His arc was beautiful and I really really appreciate it. His connection with Viktor means so much to me. screeches into the void

But lets be so fucking real - they kind of (majorly) chickened out of their mass commentary on the opposing classes and working towards a better system that doesn't harm its people. and instead like - Vi's arc got completely fucked?

Like - oh okay so you ditched everything you were going to say and just made her a strong war pawn who can hit good and is gay coolcoolcool (sobs). Like, act one was so promising it really felt like it was following up on everything they had been working towards, and i loved seeing Vi having to make hard choices; watching her become an enforcer as the only way she could think of to deal with two disparate parts of herself - one that needed to put an end to the monster she feels like she created (Jinx, obvi), and one that desperately needed to hold onto the only person she had left (Caitlyn).

And Cait's devolvement into fascism was so intriguing and dark and I hated it in a good way, yk? Like I was like "oh fuck they made Cupcake unrecognizable in a fucking believable way wtf that's rad bro"

And then in act two they were just like 'HAHA lets not show you anything but the highlights of Vi's inner tumoil, then - wow look Jinx is here to tell her about Vander! - let's just never actually take a hard look into Vi's issues or personal arc ever again teehee - oh! And Cait's on our side again yay!' Like EXCUSE ME???

Vi had stood as one of the most important characters in the entire show. She is the linchpin between Piltover and Zaun - one of only two hinges that connects the two cites (the other being Viktor to a far lesser degree bc his roots are never explored, Singed is the only undercity person we see him go back to interact with, etc etc leaving Vi to be the only 'real one') And they completely sidestepped that - especially how she's also so connected to Ekko and the Firelights - which was just - never touched again - Ekko didn't even get to fix his tree! I get it, bigger fish but ffs - it's not a blaming character thing, it's a writing issue. I understand why Ekko had to focus on smth besides his tree lmao - it's that the writers just dropped this thing that stood so strongly for Ekko's fucking roots man (pun intended). Like - He's representing what Vander wanted to do. What Zuan could be. He is literally making a part of Zaun beautiful and supportive, and standing resolute against the system and saying "both of you are wrong, back tf up and lets talk" and they just got rid of that. I think it says a lot that that in particular was punted into the void.

I'm just not over that we never got to see him and Vi interact again dude wth - and I feel like that really speaks to how much they removed Vi from her point and purpose in S1. It would make sense if she needed more time to reconnect -esp after how Cait betrayed her - but to never actually talk again? Just glimpsing each other in the finale?

Don't get me wrong, I loved some of the time-suckers this season. Mel for one (who I also wasn't a huge fan of in S1 (I didn't trust her lol)). Everything with Mel, Vik, and Jayce was sooo interesting, and Ambessa was a great villain. She was imposing and horrible and yet there were very small parts of her that you could understand - but there wasn't enough time. Not with everything else we were also touching. Not without loosing so much of what we had been working towards. And even with the large focus, The Black Rose was this jumbled mess of ideas that didn't really amount to much besides giving Mel a powerup and probably leading us into the spinoff :(

I've been having trouble processing all of this because I'm shocked and upset because narratively, I didn't like it.

And I HATE that I didn't like it. I liked the individual scenes. I liked the concepts at play. But none of it was fleshed out!

That impeccable no-crumbs-left writing was suddenly nothing but crumbs. A whole feast of them. Nothing was really held together and it left each arc feeling like a separate vaguely-connected vignette rather than a whole story - let alone a satisfying conclusion to the previous season.

I'm genuinely angry because I wanted so badly to love this season but I just don't; not as a whole, not as an ending. Again, the individual moments were largely great, but good moments don't make a good story.

I just feel like they were trying too hard to serve LoL lore. Originally Arcane wasn't cannon-compliant with the messy lore of the game, and then a few months ago they came out and said that it was now considered canon - and I was excited bc I thought that meant that whatever they did would influence League - but I was wrong. I think it's very clear that Canonizing Arcane had the opposite effect. I think it's why they chickened out of their societal commentary - I think it's why the Champion deaths were so 'no body, no proof'. I think that it undercut all the stakes for the writers and made them forced to bend to the will of a lot more oversight from the higher-ups at Riot.

I don't know guys, how are you feeling? I'm really glad we got CaitVi cannonized (but I have things I wanna say about that too, esp. how their sex scene played into the sidestepping of Vi's arc (not that it happened, but the way it did - I can talk more about this another time lmao)) and I loved getting a timebomb kiss (again more Vi arc things I wanna say *sobbing and gnawing on my cage bars*) but yeah - anyway I gotta stop typing before I get too into-the-weeds of my thoughts. I'll probably make a big post about the specifics of how I feel they fucked up Vi's story in another post bc I clearly can't let it go XD

But fr tell me ur thoughts too pls I want to know what you thing even if - maybe even especially if - you disagree with me :3

Idk I've got to rewatch it.

It wasn't bad TV, it's still better than most things coming out right now... I hate that I can't just love it entirely rn raaaaaaahhh auhfalwoiha (help D':)

[idleindy]

That strong right hook that Rook landed on Solas in the ending of the game that I got was so cathartic. Like, I respect all you Solavellans and everyone who likes Solas, but I could not stand the man even all the way back in Inquisition. He's a very interesting character and has a lot of nuance don't get me wrong, but everything he says irritates me to a point beyond reason.

One of the amazing things about Dragon Age though is the ability to have your own personal canon (and opinion on characters and world events)! I've seen some people saying that the only ending of Veilguard that is 'canon' or 'right' is the Solavellan ending, and that the other endings are out of character. Personally I'm glad to have had the options that I did at the end of the game rather than the alternative of not having a choice in how it played out at all.

I will say though, I wish we were able to call Solas on his bullshit in those little fade chats cause I totally knew that he was messing with us the whole time, and even if I hadn't, there's no way my Rook actually would've listened to an ancient elven 'god' stuck in his head lmao

[andreal831]

Elijah antis make it so hard to talk about him.

Sometimes I just want to say "This a**hole."

And not get a hundred responses saying: "Thank you! Elijah is the worst, most evil character to ever exist in the world."

[keferon]

Did you think I was done? Ahahahaha no, I have more.

Because chapter 70 of MOMU gave me the very dynamic between them that I missed so much, I just blacked out and started drawing uncontrollably lmao

Also. ALSO. I noticed a while ago that Prowl has the habit of..like…constantly frowning. So. I did a bit of research and made this graph.

In 70 chapters, Prowl frowns rougly 104 times. And the intensity of this gesture is very clearly correlated with the development of his relationship with Jazz, as you can see ahahahahah It might be wrong tho don’t take me seriously I’m not good with graphs

[kwondotcom]

(1) wonwoo's "why are you sorry? it's not your fault that you don't love me." is a paraphrased translation of a popular line from the filipino movie i'm drunk, i love you (2017):

a fuller translation would be something more like: "why do you keep apologizing? you've done nothing wrong. it's not your fault that you don't love me."

(2) world origami day actually takes place on the eleventh of november. :)

(3) seungcheol's 'love is a verb' is a dual reference: the john mayer song of the same name, and the NIKI lyric in her songs paths.

(4) i couldn't resist sliding in a filipino song into the recommended songs, because there's one line in sa ngalan ng pag-ibig that is impossible to translate effectively. just one of the nuances of language, it seems lol. the lyric goes "ikaw mula noon, ikaw hanggang ngayon."

the literal translation is "it was you in the past; it's still you, today." it's close to saying, "i loved you then; i still love you, now," but the english translation fails to truly encapsulate the rhyme and poeticism of the original. i just feel like it really, really encapsulates vernon's yearning throughout the years.

(5) 'despite everything, it's still him' in the headcanon section references the famous undertale panel:

(6) the leslie jamison quote comes from my favorite essay of all time. it's one hell of a read, but it's arguably the best non-fiction piece i know.

i love the line so much that it's actually my college yearbook quote! it felt apt to integrate here, where vernon's whole conflict is attaining a 'better' self.

(7) one line/exchange that i scrapped was somewhere around the time vernon asks, "hope i'm not too late." i had something along the lines of y/n telling vernon that no, he was never too late and he had his own time/pace. but i got stuck on it and ditched it in favor of the answer to vernon's question not having changed throughout the years.

it's heavily implied that y/n says 'yes' to vernon's question, of course, but i also initially had an instagram story slide to end it with. photo of vernon and just a very simple 'yes', but it felt disingenuous (?) and inauthentic, so i opted for (surprise, surprise!) the open ending lmao. that's why the time skip only features eight panels instead of nine.

(X) a sent me these two excerpts— the first one being mingyu coded, and the second one being vernon-after-he-came-back. i just have to immortalize them somewhere or else i'll go insane,,

🩵 dead poets society member!vernon x reader.

offshoot from the dead poets society!hhu x reader verse. (highly advise to read that first before delving into this!) part of my svt university milestone event.

I said / "I am afraid I will spend entire years / trying not to need you." / As if I wasn't certain. As if this wasn't my confession. — I swear, next time I see you I'll be funny by Clementine Von Radics

PREVIOUSLY ›

↻ ◁ || ▷ ↺ cool about it by boygenius. sa ngalan ng pag-ibig by december avenue. everything by the black skirts. buyer's remorse by daniel caesar & omar apollo. godspeed by frank ocean. someday i'll get it by alek olsen. everyone adores you (at least i do) by matt maltese. tie my shoes by beabadooobee. nothing can by niki.

on his first year away, vernon focuses on physical distance. a foolish part of him thinks that the more miles he puts in between the two of you, the easier it will be for him to get over this stupid, hopeless crush that lasted throughout his uni years. and so vernon goes backpacking, goes solo traveling. he lets the wind take him wherever. if anything, he only realizes just how deeply ingrained you are in his subconscious. he thinks of you when he passes a secondhand bookstore. he itches to text when he has a particularly good coffee. and when the sky is clear, when it's just the perfect shade of blue? he swears he can hear you in the back of his head, quoting mary oliver. (or: this is the year vernon learns all the different ways you can miss a person.)

vernon spends his second year on dating apps. it makes him a bit sick to his stomach, really. he doesn't think he's doing it right. he matches with people, sure. even manages to bag a handful of dates. each one ends with him giving them some variation of 'i don't think this is going to work out', and when they inevitably ask why, he lies through his teeth. too busy to be in a serious relationship. too emotionally out of it to commit. anything but the truth. (or: this is the year vernon realizes that no one measures up to you.)

by the time his third year away rolls around, vernon is beginning to feel a bit pathetic. here he is, after all that time, and he's still haunted by the shadow of a relationship that didn't even come to the light. sometimes, that seems to be worse— saying goodbye and knowing the door is left open a crack. he distracts himself with literally everything else. he tries out improv. he finally opens up a letterboxd account. he signs up for marathons. (or: this is the year vernon runs, in more ways than one.)

there's less of an ache by the time that year four comes. vernon doesn't think of you as often as he used to. he's able to be with someone else without imagining you in their place. even as that relationship eventually ends, he's glad that it's because of reasons unrelated to you. he's finally gotten to a point where he can look at himself in the mirror and not think of all the ways he faltered or failed. despite everything, it's still him. (or: this is the year vernon accepts the version of himself in his reflection.)

five years. it takes five years before vernon can finally reach back out. not to everyone yet, no. he starts slow. mingyu gives him a whole load of shit for it. seungcheol asks a dozen questions. wonwoo understands. vernon is grateful for them, so much so that he finds himself watching the dead poets society on his plane ride home. it's all fun and games until the scene with robin williams, where the schoolboys are paying ode to him with cries of "o captain, my captain!" it's the very line that echoes in his head when he sees you some feet away from him during a chance encounter. suddenly, none of it matters. not the distance, not the blind dates, not the man that he's tried so hard to be. all he can think of— all he can see— is you. o captain, my captain. (or: this is the year vernon decides to be honest with himself.)

[uncanny-tranny]

Basically, my philosophy around disability fakers is: I would rather a thousand people fake a disability than have one disabled person suffer without care, aids, compassion, or any help.

[mossy-aro]

ultimately i think my insistence on aro positivity honestly is as much a political stance as a personal one.

when i say aro positivity is crucial and that i dislike doomer-ist posts that express sentiments like 'I hate being aro so much I wish I was dead instead’ it's not because I don’t think there can and should be a space for negativity and acknowledging self-hate, or the many ways being aromantic can really suck sometimes. i find that to be very important!

that being said. there is smth here about how self-hate posts are sometimes just arophobia that we inflict on ourselves. and when we put that out into the ether it (intentionally or not) can become arophobia that we inflict on other members of the community. i think there absolutely needs to be a place for negativity and the expression of anger and frustration and self loathing even - these are all good things to talk about because these are things that we experience. that being said, it can also be genuinely upsetting and triggering to people to have what is essentially arophobia shown to them and then have that be validated by other aspec people. your personal thoughts can affect your wider community on a level you may not anticipate. and i understand it i truly do! it took me so long to be able to recover from accepting being aroace - it threw my entire world off kilter and made me question everything about my place in the world.

but my insistence on aro joy and positivity is because ultimately i do believe that building is at the core essence of it all. that ultimately discussions and the purpose of community should be about construction, not destruction. and this is both a personal and a political stance. talking about how much you hate yourself and cultivating online discussions/spaces where negativity about aspec identity is the main and only theme is destructive - if that’s where we let the conversation end. these thoughts can and should be used as a vehicle to look for a path forward!

joy and positivity create a space where the focus can become on forging a path forward, on construction, on community building instead of tearing ourselves and others down with negative thoughts. it’s not productive or healthy when it stops at a place of negativity - it becomes actively destructive to the essence of community.

and i do think that this is especially poignant considering the fact that being any kind of queer, but especially aromantic (and/or asexual) means forging a path for yourself and making your own happiness where there is no obvious way forward. our communities exist mostly online (right now, anyway), there is little recognition of our existence in the real world, the effects of amatonormativity are both pervasive and actively dehumanising, and there are legal, economic and social structures in place actively making our lives more difficult. yes that all sucks! it’s good to acknowledge that. we need to in order to change it. but more importantly, that’s not the end. we are still here and our happiness, our future is for us to determine. even if we can’t change the laws or society, loving yourself and understanding aromanticism as a political identity (as well as personal), as a radical worldview, and as a protest against amatonormativity is essential for both community and personal well being. the personal is political.

tldr. i guess my point is that as a community, we should focus on building, improving, and nurturing ourselves and each other (construction) as opposed to destruction. we should recognise aromanticism and asexuality as political identities as well as personal ones and rely on community and self-love in the absence of anything else as a form of protest and political power. destruction (the recognition of everything that is wrong) is essential as a starting point - but where do we go from there? we rebuild.

[nysscientia]

today I am thinking about how wonderful it is that Wyll Ravengard is unquestionably Good but he also has flawed judgment

like, there are several little moments throughout the game where you can earn his approval by doing things that have consequences he would NOT want

(minor Act I spoilers) he approves when you defend Auntie Ethel from Mayrina's brothers, even though evidence is starting to stack up that she's not what she appears to be. and if you do, it starts a fight with them—with innocents who are just trying to help their sister.

OR (slightly bigger Act I spoilers) he approves if you take revenge on Kagha over Arabella's death, even if you haven't uncovered the Shadow Druid plot. and challenging her openly like that, without first calling into question her authority, causes violence to break out in the Grove—hurting many of the tieflings he's trying to protect.

this is not at all to suggest that he has "bad" judgment, because I don't think he does. it takes precious little for him to realize that Karlach isn't the monster he expected, even with lots of voices telling him that she is (Mizora, the 'Paladins of Tyr') and a perfectly reasonable justification for dismissing her own self-advocacy (devils lie). I actually think he's very discerning in a lot of situations—like his insights into Raphael and Mol. or an even more direct example (Act III spoilers): the hero's tests with Ansur, where he can just tell you the answer to all but the lanceboard puzzle. he knows what he's about! he's been making these calls on his own, in the frontiers, for seven years!

so part of why I love those moments of imperfect judgment is because I think they're an incredible window into his interiority. they come up in moments where his sense of justice has been activated—where he feels a need to protect; to face down a threat. he's a little more hasty, a lot more willing to gamble, when he feels like the safety and wellbeing of someone innocent is on the line.

and I have no reason to believe this is on Wyll's mind in those moments, but it's certainly on mine: how would his life have been different, if 7 years ago there had been someone around willing to make a foolish mistake for the chance to protect someone who might be innocent?

because when Wyll looked at Ulder, no cultists or battlefield in his wake, wrapped up in a devil and offering no explanations—

Ulder used exacting judgment to protect his city, and banish an infernal threat. he made a call that Wyll himself considers utterly reasonable.

but what if he had done something a little stupid, and gambled on his son?

... so. this post is a love letter to Wyll being the hero that he himself needed, and all the complicated ways that both hinders and helps him

[hopetune]

She finds a pen somewhere on the piano and begins transcribing Furina's hums, eyes occasionally shifting upward to the starless sky. Robin had anticipated another surrender of another heart, but this turn of events was something she'd happily accept. A small smile begins to stretch across her face. "It's a great start. I do like what Mr. Kaveh mentioned about the stars—if we arpeggiate the notes it could sound like soft twinkling... perhaps it could comfort her."

The composition is finished after a few more moments, and Robin gently slides the sheets onto the piano's music shelf. The girl startles at this, looking around for who might have given it to her. Then, she sets her fingers down onto the piano and begins plucking away at the keys. Her technique is solid—each measure is played with precision, though it's just that. Precise, technical. There is none of the emotional nuance of the composition. When the performance finishes, the girl is quiet for a moment before speaking up:

“Is someone there? Did you write this? It’s very good, I… hope I played it well for you.”

Robin doesn't know if this girl will hear her but she speaks anyway. "We did. We wrote it just for you. You played wonderfully, but... there's a lot of tension in your fingers"

The girl evidently does not hear her, as the girls before her were unable to hear. 

Furina speaks up. "It appears we cannot cure her of her affliction. Her playing..." she shakes her head. "There's none of the emotion we were hoping for in this piece."

Of course two seasoned performers would take notice. Robin frowns. "Indeed. Maybe Alor was right. Perhaps there's nothing else we can do aside from offer our heart."

But she still wants to try. At least the girl seems to be able to read what they write. So she picks up the pen and quickly writes on the music sheet: 'Good technique. But can you try playing this piece while looking back on a memory you have? It can be sad or happy.'

The girl blinks at the writing that appears. “A memory… ” she repeats, before closing her eyes and playing a few measures. After a while, she stops, shaking her head. “If i distract myself with a memory, I miss notes… my teacher always tells me that the notes are more important than what they mean. ”

Robin writes again: 'Perfection isn't everything. A song is always meant to carry the emotions of whoever is performing it. Please, try letting go of that notion, even for a few measures, and see what difference that makes.'

Beside her, she hears Furina comment. "Goodness, well that's the heart of the problem then."

Robin looks at Furina with a sad but agreeing nod. "Some teachers are no good at all…" she looks back at the sheet music, "Ah, is there anything else we can tell her?"

"Tell her that her teacher isn't here anyway." Furina says, "Who's it going to hurt?"

Robin smiles slightly at this. She's right: who's it going to hurt? "That's a good point." Then she writes another line in the sheet music. 'Your teacher isn't here right now. It wouldn't hurt to try, would it?'

The girl is hesitant at first. "But…” eventually, she plays once more. The feeling is more apparent, though not in the explosive, raw, visceral way that it usually is. This seemed more like a whisper of that emotion, the effort to reach for the stars as opposed to the stars itself. Still, Robin finds it to be a good improvement.

The girl stops after a few more measures, face tight and doubtful. "Was that… did I..?"

"Just like that," she hears Furina say. "Technique can be learned, but feeling can't. And that's what separates art from mere replicative craft. Any meka can plunk out notes on a piano. but only a feeling heart can play."

Robin claps her hands together, smiling. "You've put it aptly, Miss Furina. This is the beauty of art... It's human." she says, before remembering again that they can't be heard. She writes: 'That was much better. How did that make you feel?'

The girls shakes her head slightly, "Like nobody would wish to hear it, if I did play that way more often. The mistakes, they… they’re all I hear. ”

The songstress feels something tug in her chest. She recalls feeling similar when she was younger, when her teachers were harsh and she had little skill. It was only through the encouragement of her brother that she was able to rise to the stage. A moon is only ever the reflection of whatever light the sun gives it. So she writes:  'I loved hearing it. So did my companions. Sometimes the mistakes are what make a song beautiful. Maybe you don't believe me now, but you'll realize this is true eventually.'

"Maybe…" the girl doesn't sound too convinced. Robin wonders if there's more she can tell her to make her feel otherwise, but it is here that she realized the upsetting truth of the matter: the girl is unable to feel anything at all, and a song is sometimes, most times, never enough to save someone. The songstress' throat feels tight, as though the jagged pieces of lilac-stained glass in her fist had lodged itself in her mouth.

Alor was right.

˚ʚ [ THREAD END ] ɞ˚

give little anguish

˚ʚ [ #GHSecondSky — week 2 ] ɞ˚