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wolfsong-the-bloody-beast · 2 months ago

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What I like about Veilguard

The companions. I think Veilguard gives us another bunch of fun, unique, and charming companion characters that I've greatly enjoyed being on this journey with. I appreciate that they don't just rotate around the protagonist, but they form various relationships with each other. There's tension between some of them, development, friendship, love even. Together with Rook, they feel like a community. In general, I've enjoyed the majority of the companion content, including the "filler", because I always crave more dialogue cutscenes and content with companions in these games.

The companion involvement. As I said before, the last chapters of Veilguard, in how they were handled, are exactly what I wanted from the last missions of Mass Effect 3. Except ME3 didn't deliver. Wait, that's not right. Veilguard actually does something that I've wanted to see towards the end of more such games, and that is the companions all working together and the payoff for the things I've done in the game. It matters whether or not you've done your companions' personal quests. It matters whether you assign them jobs based on their strengths. It matters whether you've gathered allies and assets. In fact, in this Veilguard reminds me of Mass Effect 2. We affectionately make fun of making friendship bracelets for our team in ME2, so they don't die during the suicide mission, while pushing the main mission to the side for the sake of it. Well, Veilguard is a lot like that. Except there's even more quests where you can see all the companions working together and moments where various companions have a chance to shine... or fail. Companions are actually plot essential now! They all have their roles to play. They're not just there to play the second fiddle to the protagonist's heroic deeds or mechanically complement the party while running around the maps. That. Is. Excellent.

Rook. Gods, I love Rook. For my 1st playthrough, I chose the "Feminine 2" voice and I had so much fun with playing a sassy Rook. I want to replay her immediately.

The overall plot. (More on that also in what I didn't like.) Perhaps a controversial take, but do you know what I've always enjoyed about the DA games? Hint: It wasn't the Chantry bullshit. For me, these games have always been about that ragtag group of misfits trying to perform the impossible task of fixing the world, facing overwhelming odds, and sometimes mysterious evils, and intimidating and powerful villains, about them coming together and even gathering forces from all walks of life to do it, and prevailing because of it. In that, I think Veilguard in its spirit isn't that different from Origins. This is what I expect and want from a Dragon Age game.

The main villains, which goes hand in hand with the above. We're facing gods, and they act, in my opinion, completely appropriately - they'd spent eternity on the top of the food chain, doing whatever the hell they wanted, and now they act accordingly. They're unimaginably powerful, egomaniacal, extremely pissed, and completely out of touch with the real world, and therefore also have appropriate faults and blind spots.

The various additions to the lore. Not talking about things that are sadly just glossed over right now. I feel like the "new" lore about the elves, titans, and blight in particular, make the puzzle pieces from the previous games fall neatly together. We knew that the previous games consisted of sources by unreliable narrators, and by Trespasser, that narrative finally starts crumbling. That's the part I was greatly looking forward to, and Veilguard sates my hunger for answers. I'm also happy we finally got to visit places that are merely talked about in previous games.

The combat. Subjective, but I think Veilguard's combat is the best the DA franchise has ever had, as long as you don't hate action combat. Personally, I've had an absolute blast with it. Origins used to be my favourite, as far as combat goes - I like the tactical combat and I micromanage every companion there. I wasn't particularly fond of how DAII moved away from it. Eventually, I managed to warm up to DAI's hybrid version of combat and gameplay, but it has its own issues. Veilguard finally makes that final step towards action combat that the previous games were merely flirting with, and frees us from babysitting companions with no sense of self-preservation, but lets us rely on them much more. Initially, I was worried about this and about what seemed like reduction in the number of abilities, but ended up loving the new combat system. At first it seemed a bit intimidating, but I quickly came to enjoy it for how fun and intense it can be, how we can build and easily rebuild our character and the companions, switch abilities etc. I also find it really cool that companions get different skills (and also outfits) based on your decisions in the game. And the companions' shouts of praise for both our character and each other in combat? Absolutely delightful!

Quality of life improvements. There's quite a few. The inventory system and loot in DAI are a nightmare. Veilguard handles this so much better. No more inventory tetris. If you don't like the look of your armour or weapons, you can choose a different appearance for it. Visually, I also like the equipment in Veilguard more than all the previous games. A lot of things have a toggle now, armour, helmets, hints, notifications, etc., if you don't like them. Don't like that the game highlights hints for a puzzle? Turn it off. Also, forgot to take a companion with a specific skill set with you? No, you didn't, because you can summon help through the lyrium dagger now.

The maps, level design, and density of content within. Some of the maps in Veilguard are fairly large, but they're not as excessive and also not as barren as in DAI (as much as I love quite a few areas in DAI. Hello, haunted house, my beloved.) There aren't nearly as many tedious chores to do, either. No annoying jumping puzzles to get a million shards. No landmarks. No bottle or mosaic collections or elven artefacts to activate. There's a couple of optional collectibles which reward you with skill points or extra health, or puzzles to access loot, but they're much fewer in number, and generally felt fine to me. Plus, moving around, thanks to the new system, feels better. I feel like completing side quests is much less overwhelming, and I can't recall Veilguard having the type of quests that are just "Pick up urn with a dead man's ashes. Take it elsewhere," or "Take this potion and bring it to my mom," like DAI had. Not nearly as many from random papers lying about, either. I also like that now, upon pointing at an area on the world map, it shows you a little notification about whether the area has quests available or not, so you know when you're done there. Also, the city hubs feel alive and have more content, more similar to DAO's Denerim, than beautiful but sterille Val Royeaux in DAI.

The world is gradually more and more affected by the ongoing apocalypse, and the situation is appropriately severe. We get losses as well as wins.

Visuals. To be honest, at first I didn't know how to feel about the art direction, but this isn't my first DA game. After the shock of DAII, which was so different from DAO, very much tried to be anime, where everything looks like it's made of plastic, including people, and where Hawke literally wears jeans, I learned and accepted that there are no rules. And, to my surprise, Veilguard's style has really grown on me. The environments are gorgeous, even though I'm playing the game on the total lowest setting. I've come to enjoy the character design, as well. I think the companions are some of the hottest we've had. I know that a lot of people don't like the style, and I get it, because it is rather specific, and I still remember how much I was struggling with the visuals while trying and failing to enjoy DAII, so I can very much understand these feelings. As for me. I don't dwell on super realistic visuals. I liked and still like the visuals in Origins. I enjoy it in Inquisition, as well. And I love this, too.

The character creator. Mechanically, I like that we now have sliders with proper numbers. There are so many beautiful hairstyles and abundance of other options. I love being able to tweak Rook's body type. We can have scars or tattoos on the body now, and I enjoy that there's a moment in the game where we can choose to comment on what our character's scars or tattoos mean for them. Never seen such a thing before. It felt good. As somebody who replays characters, I like that we can import an existing character from older saves.

Most of the music. I wasn't happy about the change of composers, but I have to admit I do enjoy the vast majority of the music in the game.

Now, I may have forgotten something and probably remember it later, but meh.

Some thoughts about Veilguard

I said I was going to try and make a spoiler free summary of my opinions, so finally here it is. This post, or rather a series of posts, is not meant to be an actual review, and it is not meant to convince anybody to purchase or not to purchase the game, to love it or hate it. I've just felt like all the noise is really overwhelming, and felt like sharing my thoughts as somebody who's actually enjoyed Veilguard, while acknowledging that it has issues.

I'm going to talk about things 1) I liked, 2) I didn't like, 3) additional things, neither good or bad, mixed feelings, 4) final thoughts.

Initially, I planned to make one post with bullet points, but the yapper in me took over, and I found out there's a character limit to a text post here, so I had to split it, which is why I'm going to post these topics separately, in a series of reblogs.

And before you groan at my choice to include something in one category or another, know that one thing can be in more than one category.

I also feel the need to point out that for years, I've been a huge fan of Dragon Age: Origins, which I have replayed fully quite a few times and also played with a few other characters partially. It is my favourite game in the franchise and one of my favourite games of all time. I'm also rather fond of Dragon Age: Inquisition. Dragon Age II, I have learned to appreciate for the things it does well, but it is my least favourite out of the bunch. Honestly, I had an awful time with DAII on my first playthrough for many reasons, but I'm not going to go into that much in these posts. With Veilguard, I'm still making up my mind where exactly it stands on the scale, but I've had a lot of fun playing it, while realising that it's far from perfect.

Because it might influence my opinions, I also feel like I need to say that I have not read the books or the comics. First of all, I picked this franchise up because it's video games, and I'm perfectly happy to stick with the video games. Also, I've always been a bit protective of my own worldstates, and I didn't like it when I found out that they decided on king Alistair as BioWare canon in some of their materials. (However, I admit I've recently purchased Tevinter Nights, as it's been repeatedly recommended to me by other fans, but that's mostly because it expands on what some of Veilguard's companions and characters were up to before the events of the game.)

Please, remember these are just my personal opinions. I'm not trying to tell people how they should feel about the game nor will I pretend that I'm an authority on what a Dragon Age game should be. Also, I'm an employed adult, and I am very tired, so please, let's stay calm.

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fancy-a-dance-brigadier · 3 years ago

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a fandom: pertwee-era who (that's a fandom, right?)

It sure is!! One of my favourite things about Pertwee-era Who is that it feels like its own entity away from the main show, while still being a part of it. Anyway, onto the questions!

Favourite character: Mike Yates! I just love his character arc in the later episodes, there's so much interesting stuff going on there. Also he falls into one of my favourite character types - annoying English posho twink

Least Favourite character: I may get crucified for this, but I'm gonna have to say the Doctor. Don't get me wrong, I do love him plenty, I just don't like him as much as the other characters. When it comes to Dr Who, I've always been more interested in the companions rather than the Doctor

5 Favourite ships (canon or non-canon): I have been on the Benton/Yates brainrot train since 2013, so they're definitely my number one. As for the rest, I really like the Brig/Liz, Liz/Corporal Bell, Jo/Sarah-Jane, and this isn't really a ship, but I hc that Benton had a massive whacking crush on the Brig in UNIT's early days

Character I find most attractive: Jo, easily. Her style is utterly unmatched

Character I would marry: Hmm... maybe Liz? I feel like that would be a very chill relationship

Character I would be best friends with: Oh, this is a hard one because I want to hang out with them all, but if I had to pick anyone it'd be Jo or Benton

a random thought: I firmly believe that once Sarah-Jane got back from her travels with the Doctor, she and Yates started solving extraterrestrial mysteries together scooby doo style. Yes, I have started writing a fic about this concept, but it's very much on the backburner at the moment.

An unpopular opinion: I guess the fact that arguably the three most popular Pertwee-era characters (The Doctor, the Master, and the Brig) don't rank among my favourites could be an unpopular opinion. Don't get me wrong, I do like them! They've just never spoken me to the way the other characters do - maybe it's because they're so central, and I tend to latch on to characters that are slightly underdeveloped because I like to develop them myself.

My Canon OTP: I don't know if I have one? I guess I don't hate Cliff and Jo together

My Non-canon OTP: Benton/Yates, my ride or dies, my good time boys

Most Badass Character: Liz Shaw, hands down. Badass science lady to end all badass science ladies

Most Epic Villain: It's got to be the Master - how could it be anyone else? Although shout out to BOSS, I do like that whacky computer man.

Pairing I am not a fan of: The Doctor/the Master *runs away and hides from inevitable slings and arrows*

Character I feel the writers screwed up (in one way or another): Corporal Bell and Corporal Hawke - they have less than ten lines between them, and Hawke was only given a name in a random book from the 90s, but I just really wish they'd got more of a look in. One major downside of the Pertwee-era is that there was only ever one female character in the main cast at a time, and I just think expanding on their roles would've added that necessary diversity.

Favourite Friendship: Sarah and Yates might have only hung out in that one episode at the tail end of the Pertwee-era, but god did I love them together. Hence my headcanon of their continued adventures (I have also written a fic about their friendship wink wink nudge nudge)

Character I most identify with: Hmm, this is another tough one. I don't know if I identify with anyone that strongly, but I do see a fair bit of myself in Sarah

Character I wish I could be: Jo, purely for the fashion. Yes, I am that shallow

Thank you so much for the ask! This was a lot of fun <3

#dr who #ask game

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mybg3notebook · 4 years ago

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Gale Summarised Analysis

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in May 2021.

The majority of sources used for this article are in the game itself (this includes my Gale-solo playthroughs as well as a combination of the videos by munmomuu and selphie1999), and the few dev’s notes provided by pjenn. Gale as origin is not taken into account since it’s not finished and has little to none Gale-related content. There will be little datamining content as well since pjenn said the game contained almost no gale-related notes (only in the Weave and in the Revelation scene).

Additional disclaimers about meta-knowledge and interpretations in (post)

The number between brackets [] represents the topic-block related to (this post), which gathers as much evidence as I could get.

We can infer about Gale by analysing what he approves and disapproves of. Sometimes, we can even lightly infer some information from his neutral reactions, but let’s be honest: this way of analysing a char is pretty poor since it leaves everything to speculation. Neutral reactions can only be analysed, in very rare instances, by contrasting the same situation in other contexts, and seeing what other options Gale approves or disapproves of. With these considerations in mind, we can proceed to describe this character.

Disclaimer: this is a meta with my personal interpretation of the character, sticking as much as possible to the facts and leaving little to “desires” or “projections” of what I want him to be. If I do so, I will state it explicitly in the text for the sake of analysis honesty. I want to be clear about what is canon (facts shown in bg3 EA), from what’s personal interpretation with little proof.

Understanding Gale (integrated text)

We are none of us monsters. We are merely hatcheries for monstrous things. So we fight them

---Gale

Collecting most of the information provided in-game, we know he has a cat, a Library, and writes poetry sometimes. One of the first things that Gale will reveal is that he is a private person. He easily and clearly sets boundaries from the first moment, showing Tav where they stand. The second aspect he makes us aware of is his pragmatic thinking and his preference for diplomatic approaches. A third aspect that stands out on its own: he is a very verbose person, maybe as a result of his academia background in combination with his poetry hobby. He also has a bad posture when talking, but I’m not sure if this is intentional or a bug.

We can assure that Gale certainly is a man of the city [13], and may have a decent social status. It's impossible to say for sure if it's noble or rich or both, or it is just a natural consequence of being a wizard scholar: he is frustrated by the harshness of the camping life, he misses the civilisation of the city which offers well cooked meals, soft beds, and scented baths. Not by chance he is the only companion in the group who would approve of giving Oskar 200 gold to fight “the discomforts of the road” [13]. However, he adapts. Despite the lack of luxuries, he managed to survive in the wilderness.

Gale and his link with magic is unquestionable. Magic is life for Gale, metaphorically and literally speaking since it's magic what allows him to stay alive despite the "orb" in his chest. If we talk about Magic, we have to talk about Mystra and the Weave. The Weave is not only the embodiment of Mystra, it's an extension of Mystra herself. It extends across many planes of existence and is in almost all parts of Faerûn. By dragging power from it, Magic can be performed.

Mystra, for lore reasons and conjectures that I will discuss in the post "Mystra and her Chosen ones", turned teenager/young adult Gale into one of her Chosen, making their relationship more intimate and granting Gale a deeper access to the Weave. This put Gale into the category of an archwizard. It's clear that Gale was and still is a devotee of Mystra, which could give us a hint of his alignment since she is a neutral good goddess and she expects for her Chosen to align around it.

Gale likes confidence, in others and in himself. He is confident in his looks (he has described himself as a “handsome devil” and answered during the romance/Revelation scene that he knew he was beautiful under the light as well as Tav). But beyond these two lines, qualifying him as a narcissist seems extreme. He is surely very confident about his knowledge, and we see he is not just mere words: his Mind Flayer knowledge is at the the same level of what githyankis know. If we compare how Astarion/Tav struggled with the book of Thay, and then we see how Gale manages it (sadly the scene is not complete yet in EA, and there is almost no datamining info of Gale), we can conclude once more that his knowledge and power of the mind are real (he is, so far, the main companion who allows us to explore the lore of the game in a deeper way during his conversations). We also know it's a bit more complicated to intrude into his mind using the tadpole because he has knowledge and mental tools to protect himself (check the post about the Tadpole inside Gale). He is certainly a very verbose and confident scholar, who knows his limits, and in occasions he seems to dabble into an ego-teasing play as an attempt of levity, displaying his “insufferable side”, as he has described himself (his self-awareness of these traits is remarkable, and it is the reason why I avoid qualifying him as arrogant. Arrogant chars are hardly self-aware of their own bad manners or insufferable traits). But we can see it's usually done as a joke or, with an evil Tav, as an aggressive reaction. For a deep analysis of this aspect, check the post about "Gale Hypotheses- Part 2", section: "Narcissism".

Based on his approvals and disapprovals, we can see that Gale has a strong preference in avoiding fights, violence, and bloodshed [1]. He will always prefer diplomatic and persuasive approaches [2]. Reasoning is his best weapon, but if the individual we are dealing with can hardly be persuaded, he would approve of a deception or an intimidation as long blood is not spilt. Here is where we see his pragmatism in action, all the time. His primary goal at every moment is to avoid bloodshed. His philosophy could be summed up in the line “the means [as long as they don’t kill gratuitously] hardly matter if the end is worthy”. And for Gale, nothing is more worthy than life [3]. This doesn't cover only the life of innocents he cares about, it includes the life of the most dubious characters as well, such as Rugan or Crusher. Gratuitous death is meaningless for him. During the scene of Nettie we can have a glimpse of his philosophy towards life: he viscerally hates treating life as if it were nothing:

Gale: How dare she snuff out life with as much thought as snuffing out a bloody candle? […] It's not right to feel the cold breath of death in your neck, then move on as if it was nothing but a soothing breeze. One respects life by fighting for it, and one respects death by fearing it.

Gale: One should never be afraid to live life to the fullest.

Probably the limited amount of life he has due to the "orb" increased his sense of respect for life and its celebration. I personally understand Gale as a character who embodies the perspectives of a seriously ill person, knowing that their life may be short, but they will try to make the best out of it.

He doesn't only respect life per se, he also cares about its dignity. This can be seen in his explicit rejection to undead existences such as Connor (he explains that it would be merciful to put an end to his undead nightmare), or in his disapprovals of humiliation and torture [9]

We could suspect that this emphasis in protecting any life comes from the fact that only people who are alive can (sometimes) be forgiven or/and change. This is not explicit, but since he is a character who talks about being better and wiser than his previous self, about acknowledging mistakes, about forgiveness, this interpretation seems reasonable.

These concepts of kindness and compassion combined with “the mistakes of the youth” are repetitive in his interactions and approvals [5,12]. Of course, they echo in his soul since they are reflections and desires of his own experience. This pattern covers forgiving children in particular [5], and disapproving hard judgements [16], especially on matters whose story is not fully understood by Tav. This means he doesn't like quick judgements when he doesn't know the whole story first. This scenario can be easily seen during Karlach's quest, he reserves his judgment until knowing Karlach's side: There are always two sides to each story.

Gale: I have to say I don't know if agreeing to this hunt was such a wise idea. Who's to say who's the real villain in this tale of devils and masquerades? [...]When we track Karlach down, let's chat before we chop.

Similar concept appears during his Revelation scene, when he encourages and keeps asking Tav to listen to him first before judging. This is also the reason why in his Loss scene he would disapprove if Tav quickly assumes that his loss of Mystra was due to arrogance. Tav judged him without knowing the whole story. However, once Tav knows the whole story, Gale will accept any judgement from them without approval penalties during the Revelation scene.

He approves all actions that imply helping others in hard times and disapproves of them if they were done out of greed [4]. He is an animal lover [6,7]. Being kind to animals and treating them good will increase his approval, while animal cruelty will earn his disapproval. Same goes for humanoids: any display of gratuitous violence that could have been prevented with a trick or a diplomatic approach, any humiliation forced upon others, any torture or situation of slavery, is disapproved [8, 9, 11].

In particular, Gale seems to advocate the philosophy of “give others their own medicine”[18] or in other words: poetic justice. We can see this during the Myconid colony; he approves of helping the Myconid to avenge the young killed by the Duergar, adding the comment: “Wicked killers deserve wicked ends”. He is implying to give them a similar, wicked medicine to the Duergars. Another less deadly situation of this kind is shown during the foot situation with Crusher: Gale is the one suggesting “pungent poetic justice” and telling Tav that they should force Crusher to kiss their feet.

The most iconic scene, however, is during Nettie's, if Tav lies during her interrogation. As a hot-headed reaction, Gale states that he would have poisoned Nettie if this situation would have happened to him. Although, after calming down, he approves of and confirms Tav's actions [if Tav managed to persuade Nettie to give them the antidote]

Gale: A taste of her own medicine is what she deserves! […] But you handled it, and you handled it well.

In this scene we also see a pattern: Gale is shown as a fallible human; his most visceral reaction during the first moment is anger and indignation, giving us a hint that he is not so rational when it comes to emotional states. An extremely obvious, human concept.

The scene of Nettie trying to kill a potential menace (the victim of a MF) reverberated in his consciousness, projecting immediately a fact in his mind: if he ever dares to reveal his "orb" problem, and anyone knows what a danger he represents—no matter how stable it looks—people will want to remove the menace by killing him.

This is the reason behind his words “It's just that, had it been me... had it been...” Gale knows that this simplistic and common thinking in removing what's dangerous would end up turning into a more destructive tragedy in his case than in any infected victim of the tadpoles. So this combination makes us see, for the first time, an emotional Gale. After some seconds, he cools down and returns to his more rational, diplomatic, and moderate self. What we can read here is that Gale would be very prone to rush decisions or to make mistakes under emotional circumstances. We will learn later that the other mistake he made under emotional stress ended up with the "orb" stuck in his chest. A third mistake was done during the party, once more under the emotional stress of a potential abandonment by Tav due to the true nature of the orb.

Everything related to the “orb”—which is his most traumatic experience—naturally makes him more emotional and prone to mistakes. To see how truly traumatic the "orb" is in his life we can notice the following patterns during the meeting scene: he speaks about the tadpole in a relaxed, rational way, despite the traumatising experience. He first asks for an archwizard instead of for a cleric, because his priority is the orb. Gale's main fear is not the tadpole, but the orb. If we remember his words after the consumption of the artefacts, we realise he lives in a permanent state of anxiety and raw fear, and probably pain too, given his facial gesticulation when anything interacts with the "orb" (whether artefacts or Tav's hand). His banter with Shadowheart reinforces the concept that he always has a knot in the stomach. When he accepts the deal with Raphael, it seems to be related to the orb, not to the tadpole. The effect of the "orb" has ceased, but the tadpole is still in Gale's head since we still need to roll against a high DC and not only against a 1DC during this scene, so we can assume he still has the tadpole despite Raphael's deal. See the post about "The Tadpole" in Gale for more details.

Gale is a character that represents human experiences deeply related to growing up: mistakes done in the past, and the acceptance of not being forgiven despite the desire of wanting to. This can be easily seen during the conversation of the second tadpole dream, where Gale's mood is foul and we learn that his deepest desire is for Mystra to forgive him, but he also knows it's impossible for that to happen. He detects the lie in this dream because he has accepted that Mystra will never forgive him. Gale is the story of mistakes done during youth with grave consequences, of acknowledging them and trying to make them right, of surviving those mistakes, and depending on the interpretation, he is also the story of an ill dying man, with a gentle vision and deep care for life.

The great majority of his approvals are based on actions that show kindness and compassion, both reiterative concepts that are so important in his character that they come from his lips when we see the goblin party:

Gale: The shadow within is spreading like poison, corrupting kindness and compassion. [Only after a tough DC of 15]

In combination with: Gale: I don't know myself anymore. All this... It's not who I am. Around you, I'm not who I want to be. I should leave.

These lines show how, in a sudden change to an evil path, Gale would start doubting his own morality, explaining that the cause of it is the "orb" itself, corrupting the most core aspects of his personality. This corruption may or may not be lore-related. It's not completely clear what Gale's "orb" truly is. For more details, check the post of the "Orb".

His constant critical thinking comes from his advocacy to non-conventionality [15]: a true scholar will always explore all the options and hypotheses before reaching a conclusion. Therefore, Gale would approve of any non-conventional way to fix a problem [15] as long as it doesn't potentially cause harm or bloodshed [1,2,3,8,9]. Due to his own background, Gale will always advise to be very careful of the consequences of one’s actions. This can be easily seen when, after encountering the caged goblin Sazza, Gale would advocate to explore the possibility of reaching Gut Priestess to cure the tadpole. However, when Tav helps Sazza to escape, Gale will comment briefly against this action.

Gale: I know I said it's not inconceivable a goblin priestess could help us. And yet... was it really wise to set another goblin free so she can arrange introductions? […] consider the consequences. What if she leads her entire tribe to the grove? Tav: I don't care, I owe this grove no allegiance. Gale: No allegiance, no. Though we don't need to sign its death warrant

Once more we see that Gale is up to using any (unharming) means to get a goal, but not at any cost. He has a clear line he doesn't like to cross: life [3]. Avoiding putting other people's lives in danger is very important for him. We see this concept over and over in most scenes.

He doesn't likerushed decisions, and in that same train of thoughts, he will disapprove any use of unknown magic or tricks when nobody in the group can truly understand how they work [17], for example the tadpoles or Raphael's deal (he is against accepting it quickly, but he will approve of having a more cautious attitude and carefully thinking about it).

Since the moment we meet him, we can infer he is obsessed with the artefacts. It's obviously understandable: he doesn't want to die, but also, he doesn't want to kill all those that will be caught in the eruption of the orb. For this reason he will insist on the loot in the Temple Ruins despite knowing that grave robbery is not correct.

Gale: Bad form, isn't it? Grave robbing? […] Let's have a look at the loot. It isn't for your pockets only.

He keeps pondering life over death: although he respects the dead, he will always value more the living creatures in the present. This is also what pushes Gale to suggest Tav to open Rugan's chest. Stealing from the evil Zhentarins is not something that will weigh on his consciousness too much. Besides, he knows it belongs to a wizard: meaning that the chance for it to contain a powerful artefact is really high. Similar suggestions will be said about the Idol of Silvanus, but talking with him in the camp will show us that he won't approve of taking it, only as a last resort. He keeps pondering the living over a sacred piece of stone, since he knows the druids won't take the stealing very peacefully. Once more we see Gale's respect and care for life, trying to minimise damage as much as the circumstances allow him.

Gale is also a survivalist. He doesn't want to die, he loves celebrating life in its more mundane and small details. He is an emotional character for a wizard, a bit strange since they are usually portrayed as more rational and cold, losing their lives among dusty books. However, Gale has shown in many scenes that he prefers to survive without killing, but if he has to, he will do it, dealing with the weight of it in his consciousness because killing unprovoked affects him (scene in the camp after killing the druids, or the goblin party scene).

His moral in preventing gratuitous death sometimes will conflict with his own survival, especially if he is by an evil Tav's side. He couldn't accept bloodshed when other peaceful options were available and possible to reach. This is clearly shown during the goblin party, where Gale's consciousness suffers and feels the corruption of the "orb" killing the kindness and the compassion inside him. He accepts that wanting to live is a powerful drive, but he doesn't support this massacre, questioning if all that blood was necessary. A Tav killing the tieflings seems to lose the possibility of pursuing Gale romantically, at least in EA so far. For Gale, survival is important, but the means to do it (when they can cause death) matter too. Life is worth preserving.

The usual archetype of survivalist tends to be an individualist one who would survive at any cost without remorse because that's the “law of the jungle”, the strongest must survive. However, Gale seems to embody a different concept of survivalist that it's hard to put in words: a sort of communal survivalist, trying to survive in coexistence with his community: he wants his survival to imprint the least harm possible (even though sometimes it would not be possible), trying to help those around him as long as his condition allows it; for example, despite wanting Gut's potential cure for the tadpole, he would disagree in helping Sazza escape because she will lead the goblins to the Grove, no matter the fact that doing this will grant them their introduction to the priestess.

His list of approval shows that his sense of survival is always pondered with the consequences that it can cause on others (check the post with the "Extensive list of Gale's approvals"). The whole concept of the "orb" has this motivation as well: he wants to live and survive, but he also can't give up because his body would kill many, so he needs to do as much as his moral allows him to keep it in check. If he cannot do it any longer, he promises to minimise the disaster as much as possible by erupting in the deep Underdark or in a desolated corner of Faerûn (and considering his ridiculous list of approvals and disapprovals, we know he is honest in not wanting to kill gratuitously). Gale acknowledges his own mistakes, trying—to the best of his ability—to deal with them without catching others in them. Although all his speeches keep emphasising that he is a mere human, and plans may fail.

At some point, if he wants to survive “not at any cost”, he will be forced to ask Tav for help during the scene of the stew (available only for medium approval or higher). As a gesture of honesty, Gale will set a boundary before making this request, acknowledging its unfairness but giving Tav the decision to proceed or not. He is not denying to explain the details later, but at the moment he can't speak the “why” of his condition no matter how curious Tav is. Tav will decide whether they can keep their curiosity on the matter.

We will understand later that this impediment comes as a precaution as well as consequence of his personal trauma with Mystra and the "orb" (See post about "Gale: Manipulation, Lies, and Trust"). So, he is very clear about setting the conditions in which this conversation will happen from the beginning. The easiest way for Gale to avoid this whole situation would have been by simply lying, but he opted for an honest approach with clear out-loud reservations, knowing he was asking for more trust than he was allowed to, but the intention behind is more than important. There is a clear, huge contextual detail that we can't miss: this scene doesn't happen because of Gale's whims, he is forced to ask for help since his condition “is not a patient one” and will endanger everyone if not kept at bay.

This detail where Gale explicitly asks for an exchange of trust is not present if Gale's approval is neutral or lower. In this case, Gale would not care about giving a context to his strange request: he doesn't trust Tav and he doesn't expect to be trusted either, he only wants the artefacts to keep his condition in check for his sake and the sake of others. We can understand this change of attitude depending on the approval as he doesn't want to give any extra explanation to someone he is not interested in building a relationship with. For more details, check the post about "Gale: Manipulation, Lies, and Trust".

I personally support the idea that nobody in canon Faerûn is free of racial prejudices since Forgotten Realms lore has been created based strongly on fantasy racism. I've read that WotC wants to move forward and improve this aspect in 5e, but so far what they allowed Larian to do with the Tieflings in BG3 seems to show the contrary. So, since apparently we are going to face fantasy racism anyways, I will try to analyse racial prejudices from all chars. When it comes to Gale, it's a bit far-stretched to point out unjustified racial biases. He has a vague comment about Rashemi that some people may consider a faerunian saying. Personally, I think that line is a bias forced into him to have a particular dynamic with Minsc (the Rashemi “silly” companion -we all can see where Larian seems to go with this). Gale clearly sees tieflings, gnomes, and even goblins as people, and has a cautious attitude towards some githyanki (at least that's what we can infer with Lae'zel when we find her in the cage), but given the githyanki lore it's pretty reasonable to see them as dangerous creature that could kill people on the spot. So far, he seems to have no racial preference either [10].

As it was said before, he prefers to avoid killing people, but that doesn't mean he won't do it if his life depends on it. He will prefer persuasive and defusing approaches, but if he needs to kill to defend innocents or his own life, he won't hesitate. So therefore, stories about characters making mistakes or having violent excess in an effort to protect themselves or what they hold dear will be understood by him but hardly approved [19]. He tends more to approve a call out of that excess than approving an excuse for it.

Gale has deep abandonment issues that can be easily seen when he defends Astarion from being handed over to Gandrel. We need to put this in context before going on: for Gale, Astarion represents a danger as a vampire who attacked one of them during their sleep. By the display of meta-knowledge, we know with certainty that their approvals and disapprovals are mostly opposite: What one approves, the other will disapprove and vice versa. Getting rid of Astarion should be something that Gale would approve, however, he doesn't. If we explore his comments we will realise that what Gale disapproves from this situation is Tav's abandonment. After Mystra's abandonment, he knows very well that “Loyalty is such a very rare commodity”, and the few situations in EA in which Tav can display abandonment, resound strongly in Gale.

Gale is a scholar with a strong balanced rational side. But unlike the trope, he also embraces an emotional side that, so far the info we received in EA, it's the side that makes him prone to mistakes.

As an amateur poet, Gale loves words. We can obviously notice this in his verbose attitude, but also in the way he carefully uses words. One of his characteristic words is “spectacle”. He has also shown a reiterative—although not always—uneasy use of the word “fun”. Using “fun” as a way to describe the night spent with Gale gives him a slight uneasiness. “That’s a word for it.” He disapproves of using the word “Fun” after the Mayrina/Connor situation, in which scene Gale alludes that “your new company may be a proof of how depraved and twisted you are to see that tragedy as “fun”. Personally I think this is a direct allusion to Astarion, who considers Mayrina's situation as “entertainment”, in the same way he considered as “fun” the show of Arabella's death (two of several instances where he used that word). Gale also doesn’t use the word sex during EA, instead he uses romantic ones such as love-making, intimacy, art of the night/body. In the most technical case: coitus (used only when he is talking about “goblinoid intimacy” in the expression “post-coital snack”). These details are showing not only his poet/romantic side, but also his interpretation of sex from his perspective: sex can only be possible through a connection. We know he doesn’t engage in casual sex with Lae’zel if he is not romanced, and his romance can only potentially start if Tav shares that deep connection with him through the Weave.

Another detail related to words is that Gale has always used an infection/disease-related vocabulary to explain the “orb” stuck in his chest: infested, taint, shadow spreading

[…] I failed to control [this chaotic magic]. Instead it infested me. […] This Netherese taint... this orb, for lack of a better word [..] […] the shadow within is spreading like poison, corrupting kindness and compassion. [...]

Gale apparently has a particular way to sense magic. I have no way to check this in-game, but it seems very strange how he immediately identifies magical artifacts without casting Detect Magic. There are some extra scenes as well where he says to taste or smell the magic in some objects. Even his encounter with Shadowheart, besides being considered a flirt, could be also interpreted as him detecting the magic that we saw later in her hand or maybe the dark magic that blocks her memories, since Gale pointed out about a curtain covering her soul: “if the eyes are the mirror to the soul, yours have dark curtains across the mirror” (a very ominous flirting if it’s only a flirt)

This makes me suspect that, if the "orb" is not giving him this skill, it may be a consequence of having been Chosen of Mystra (for more details read the post about "Mystra and her Chosen ones"). If this is the case, he may have hindered remains of theirs powers when it comes to detect magic at will.

Gale has a perception of magic with all the senses: he sniffs and tastes magic. During the mirror scene you have an option related to [Arcana] tag where he “Sniff the mirror, trying to understand the nature of its magic”. A wizard Tav will just “Inspect the mirror”. He also said that he could “taste” the magic in the necromancy book and in the runes of teleportation.

What we know of his family is little: when he was a kid there was a housekeeper in his life (mentioned only once during the scene of the harpies) and his mother that seemed to have personally raised and cared for him (mentioned twice: in the ruin temple scene, and in his banter with Wyll)

Tav: Why care about decorum in a long-abandoned tomb? Gale: Because my mother raised a gentleman. Then again, to be alive is to be curious.

Wyll: Between the orb and the bug you've got more than your fair share of unwelcome passengers. Gale: What can I say. Mother always taught me to be a gracious host.

This post was written in May 2021. → For more Gale: Analysis Series Index

#bg3 meta #gale #gale of waterdeep #bg3 gale #bg3 early access #bg3

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hecallsmehischild · 4 years ago

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Recent Media Consumed

Books

Half-Bad by Sally Green. Man, this is grim. It’s good fantasy, and the writers breaks certain writing conventions to convey the story better, which is fascinating. But it’s so grim. There’s two more books in the series and I want to get ahold of those before I say more.

Zoo City by Lauren Beukes. Did I say Half-Bad was grim? This is grim. Grimdark to the max. But also a fascinating premise, that the crime of murder and its accompanying guilt manifests an animal companion that marks you for the rest of your (shortened) life? If you can stomach some of the imagery and if you do well with being plunged into unknown terminology and figuring it out on the go from context, this is a good read.

Dropped titles: Pursuing God’s Will Together by Ruth Haley Barton and How Should We Then Live by Francis Shaeffer. One was a recommendation, one was semi-assigned reading because I’m a non-voting member of a ministry board. In both cases I got about halfway through. I have the gist of both books and I’m enjoying neither. At all. I started to avoid Audible altogether. The moment I gave myself permission to stop listening to them and pick up the next Thomas Sowell book on my list, I was right back on reading, because I’m actually interested in what Sowell has to say. Note to self: it’s ok to drop books that you find uninteresting. (this preceded a Sowell binge reading session)

Dismantling America (and other controversial essays) by Thomas Sowell. I was surprised at how much more of an edge Sowell has in this book, but the appearance of the edge here makes a certain amount of sense. This is the first collection of newspaper columns I’ve read by him, and he has way less time to make his point in a column than he has in a book. With that in mind, his points have much less groundwork than I’m used to reading from him when he spends a whole book on a topic (though I’d guess that each point he makes probably has a crapton of citations in the printed book, like the rest of his work. He’s quite thorough about his research). This is probably not the best title of his to pick as a first read, but it’s good and interesting. My main take-away point from this book is that politicians look out for politicians, and expecting them to do anything else is naive. And, in fact, many things attributed to a politician’s “stupidity” is far from stupid, in fact they are brilliant within their set of incentives and constraints. It just rarely aligns with the general public’s best interest. Thinking about it again, it MIGHT be a good first book. It sums up a lot of his views into bite-sized digests. It just doesn’t substantiate each and every claim as thoroughly as some of his other books do. That’s my grain of salt.

Compassion Versus Guilt by Thomas Sowell. More of the same, a collection of essays by Sowell. Different ones, on a different theme. A couple that sound like they could have been written by the authors of Politically Correct Bedtime Stories, his satire is on point.

Ethnic America by Thomas Sowell. This was a fascinating read for me. This book traces 8 groups of ethnic migrations to America. I descend from Scottish, Irish, and Russian Jewish immigrants, and seeing what the different groups had to content with over the years was very enlightening. A few things that stood out to me were; each immigrant group seems to have very different cultural strengths and foibles, inter-group violence is not new (but not always in the directions modern people would think), almost every group has its own upper class that disdains and reviles its lower class, and each ethnic group is far more variable and differentiated than the general category (“the Irish” or “the blacks” or “the Jews”) makes them out to be. More and more I’m coming to mistrust the general racial category as referenced by either political party because it seems to be a linguistic expediency that sacrifices the truth of a situation for a fast rallying point.

Civil Rights: Rhetoric or Reality? by Thomas Sowell. I’m not even sure what to say about this book. It’s short and punchy and gives me a lot to think about. Sowell definitely has zero sacred cows. Toward the end of this book he addresses some of his critics who piled onto Ethnic America, which was interesting. Also, while reading this, I have begun to realize how much of a disadvantage I am at in analyzing arguments because I’m unable to understand how people slice numbers into statistics to make their point. I’m at the mercy of the conclusion they draw at the end of the statistics because, until they summarize their findings, I really don’t understand what the raw numbers are saying. I’ve had this feeling for a while, but in this book, Sowell dissects some of the foundational studies and statistics that buttressed later civil rights cases, and I realized that if I just read the statistics and data from those cases and the statistical rebuttals that Sowell has side by side, I would not understand what was being argued at all. I can only rely on the end conclusions put into words at this point, but the written conclusion is not the proof, the numbers are. This gap in my understanding is disheartening, but I hope to continue sponging up knowledge in the hopes that I will be able to think more critically in future years.

Maverick, a Biography of Thomas Sowell by Jason L. Riley. My parents pre-ordered this for my birthday a few months ago and it arrived a few days ago. I have torn through it. I think I got a more cohesive overview of Sowell’s progression through his body of work and added several titles to my wishlist. The biography is fairly minimalist on Sowell’s personal life and focuses more on his ideological clashes with… well, everyone, left and right, people he disdained and people he admired. Maverick, alright. Also Riley takes a look at how each of Sowell’s books (or grouping of books) came about, for what reasons, and what was going on at the time.

People of the Book edited by Rachel Swirsky and Sean Wallace. This is a compilation of Jewish sci-fi and fantasy short stories and can probably be summed up best by this paragraph in the introduction: “These stories allow us to identify with, although briefly, so many different characters and places, they entertain us and they give us comfort. And yet, the tales in this anthology often have a melancholic tinge, similar in tone to the minor keys of our musical liturgy. We don’t want to be too comfortable, too happy. Because that might bring some bad luck onto us, might tempt the evil eye.” I also sensed a whole lot of anger in the undercurrent of these stories, and that saddened me.

On deck/currently reading: The Brothers Karamazov, The Rational Bible: Genesis, re-read of Basic Economics, and War Nerd.

Shows

Dropped series: Hilda. The first season was lovely on so many counts. The second season’s antagonist… bothers me. So does Hilda’s behavior. And given how much time I spent on Star and its accompanying disappointment, I’m not really interested in continuing Hilda any further. I’m shelving it at this point. There are other things I’d like to watch.

Infinity Train Season 4: Now retitled “The Wormhole Judgment Line” I believe, lol. It’s hard to top season 3, but it was a solid story. Good. Interesting. The resolution with the villains int he last episode felt kind of out of nowhere and I’m really not okay with Morgan’s behavior even if the plot wants me to feel sorry for her, but those things aside, it was enjoyable. I hope Infinity Train is picked up again, I’d love to see more.

On Deck: The Mandalorian or Wandavision

Movies

Jiang Ziya. Okay whatever this studio produces in this line of movies, I will be watching it. I definitely don’t understand all the significance of what I’m seeing but it’s creative along COMPLETELY DIFFERENT lines than US animation and it’s an absolute joy to behold.

Raya and the Last Dragon. Suffice it to say, it would take an intensive blog post (or a movie review of the style I used to do as one half of The Storytrollers) to cover all the things that bothered me about this movie. I will take the thing that bothered me the most and be brief: I find the moral to be terrible. I take major issue with the idea that repeated blind trust in the face of repeated betrayal will reshape the world, given that I extended blind trust to people who never changed for many years. I take issue with the worldbuilding, I take issue with some of the designs, and I take issue with the moral. I was exceedingly disappointed in this movie.

Profile. Now THIS was a good movie. I would not be averse to seeing more movies shot like this, using the computer desktop as both film set and character. In addition this was an interesting topic, though I was tense for the whole movie, afraid the main character was going to slip up. Very good, very tense movie to sit through.

Mighty Ira. So, this is a documentary about one of the great leaders of the ACLU. It was interesting to see this, especially since it shed more light on the whole Skokie situation than I’d heard of before. Good watch. Informative.

#child loves movies #child loves shows #child loves books #recent media consumed #mind your peas and queues

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roostercrowedatmidnight · 4 years ago

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TV Show Soundtracks, and Why Buffy’s is So Great

There are a lot of ways in which Buffy the Vampire Slayer is an incredibly intelligent and well-crafted show, so much so that there are tiny details in the costumes, the acting, the set, etc. that you only notice after your fourth or fifth rewatch. One of the places where you can see how much care went into the production is the soundtrack. Buffy had a lot of different composers, some of which would compose the soundtrack for a few of the episodes and some of which were the primary composer for entire seasons. Some of the most prominent composers include Christophe Beck, who was one of the main composers for season 2, the sole composer for seasons 3 and 4, and composer for one episode in season 5 and one in season 6; Thomas Wanker, who was the main composer for seasons 5 and 6; and Robert Duncan, who was one of the main composers for season 7 (a complete list of Buffy composers can be found here). I’m mostly interested in these three composers because they wrote a great deal of the music overall, and their music tracks are most important in terms of what I hope to convey here, which is that one of the best things about the Buffy orchestral score is how beautiful it sounds and how smartly it is utilized. To convey my point, I will explore the use of music in the show, especially in the season 5 finale, ‘The Gift.’

WARNING: gonna be lots of Buffy spoilers. Mostly just up to the season 5 finale, but possibly smaller spoilers for seasons 6 and 7 as well.

A TV show doesn’t need a fantastic soundtrack to be good — many shows have a more minimalistic, atmospheric score which serves its purpose. A lot of shows also use contemporary pop songs instead of an orchestral soundtrack (which Buffy also does). However, I think having a good orchestral soundtrack elevates a show to an even higher level, and can add layers of emotional complexity that would otherwise have been absent. To achieve this greater emotional depth, I argue that there are two main criteria a score must have: music that is enjoyable to listen to, and music that is intelligently employed.

It’s difficult to define what ‘enjoyable’ music is. Any song is going to reach some people and not others. However, some are definitely more likely to create a response in people. It is important for composers to make soundtracks that create an emotional reaction in the viewer. Some composers do this very subtly, and others more saliently. There is no definitive way to determine if music is good or not — that is completely up to the individual. However, I’d argue that there are some composers who are better at creating a consistent emotional reaction in viewers. (If you’re interested, a few composers I love include Ludovico Einaudi, Murray Gold, my man Christophe Beck, Rachel Portman, Thomas Newman, and Joe Hisaishi. I would definitely recommend checking their stuff out if you’re into soundtracks.)

The second criterion for a good TV score, which I will be discussing in more detail, is that it is intelligently employed. What I mean by intelligently employed is that the music is thoughtfully applied to the story. This ultimately ties back to emotional reaction as well -- if the people behind the scenes are smart in where they put the tracks, they’ll create a stronger reaction in the viewer. Soundtrack is best employed when certain tracks, or leitmotifs, are used for specific characters, ideas, or plot threads, without being over- or underapplied. If you just slap the same track over every single emotional scene in a show, or add a random new track when you could have reused one that relates back to the character/theme in the scene, you’ll be missing out on a chance to create a response in the viewers.

Before I continue, I just want to quickly clarify that a leitmotif is essentially a small chunk of music that is associated with a specific character, relationship, setting, or idea. Basically, it’s a theme, and is tied exclusively to a certain element in the story. For this essay, I will be using leitmotif sometimes to refer to an entire track that is tied to a story element, and sometimes to refer to a shorter phrase of music, which may sometimes be contained in larger tracks. That’s not super important, though. Basically, leitmotif = theme for a specific thing.

When a leitmotif is given to a specific story element, such as a character, then using the leitmotif in scenes that are significant to that character gives the viewer a sense of familiarity and nostalgia. This is especially great if the character has been gone for a while and has just returned, or if they have died and the leitmotif is used while other characters are remembering them. Leitmotifs can be used to draw subtle parallels to earlier episodes or certain story arcs, and if the viewer is paying attention then they will be able to understand the show in a deeper way.

Some shows have great music but a poor application of it. One example of this is BBC’s Merlin. For the record, I am not dragging the composers here, because they did a beautiful job and created some great music for the show (if you want to check out the soundtrack, a few tracks I love are ‘The Burial’/’Merlin Buries Lancelot’ by Michal Pavlíček, ‘Merlin Lost’ by Rob Lane, ‘Farewell to Gwen’ by Rohan Stevenson, and any of the suites from the finales). I don’t know who actually makes the decisions about which tracks to put where in a show. It probably differs from show to show, depending on how involved the composers are. Budget probably also plays a role, with some shows being forced to reuse music if they can’t afford a full score for every single season. With all this in mind, Merlin has a lovely soundtrack, but hardly any thought went into its application. Songs are reused constantly, to the point where they have no special attachment to specific story elements, and therefore carry no emotional meaning. You won’t gain very much insight into the text when you hear them, and they appear so often that you lose the emotional reaction you once had to them. Simply put, the Merlin soundtrack is not intelligently employed.

There are a lot of shows with great soundtracks that follow these criteria of emotional reaction and intelligent employment. A few that I know of include Once Upon a Time (composer Mark Isham), Sherlock (composers David Arnold and Michael Price), and Doctor Who (composer Murray Gold from s1-10, and Segun Akinola from s11-present). I especially love Murray Gold’s work in Doctor Who — he created a leitmotif for every single Doctor, practically every companion, and even for some of the major villains, and the music would sometimes even be used to foreshadow the return of a character. I could write several dozen essays about the thought that went into Murray Gold’s composition, though that obviously isn’t the point of this particular piece.

Now onto Buffy. Buffy has such a wonderful soundtrack because the music is enjoyable and emotionally evocative (in my opinion), and it is very smartly employed. The show has certain tracks it reuses which hold significant meaning, and that are used throughout an entire season, or several seasons. Some of these include the Angel/Buffy theme (plus an Angel/Buffy breakup theme used towards the end of season 3), the Buffy/Riley theme, the Spike/Buffy theme, the Giles/Ms Calendar theme, the Tara/Willow theme, and doubtless many others that I haven’t noticed yet. As you can see, the Buffy composers are big on relationship leitmotifs which often span multiple seasons. There are leitmotifs for recurring ideas as well, like Joyce’s illness in season 5. All of these are used over many episodes. They create an emotional reaction in the viewer because they carry a sense of familiarity, tie plot arcs together, and give you nostalgic feelings towards character relationships.

Other tracks in Buffy are limited to a single episode or a single scene, instead of being reused frequently. Because of this, they pack a lot of emotion and make the scene or episode even more memorable. Think the score for ‘Hush’; ‘Restless’; the track ‘Slayer’s Elegy,’ which plays during the big final fight scene in ‘The Wish’; or the track ‘Spellbound,’ which plays during the Faith/Riley-Willow/Tara sex/magic parallel scene in ‘Who Are You’ (by the way, all of these episode scores were composed by Christophe Beck). The track ‘Spellbound’ is actually sort of an extended version of the Willow/Tara leitmotif. 'Spellbound' only plays in one scene, and it’s my favourite track in the entire show. By using certain tracks sparingly, instead of overapplying them, the composers can create a memorable musical experience out of a single scene or episode.

Some tracks get reused across episodes, but only once or twice, instead of many times. They may be attached to a very particular setting or idea. Reusing this kind of track in a later episode draws you directly back to the previous time it was used, creating a sense of familiarity and reminding you that you have encountered this sort of thing before. For example, there is a track called ‘Little Miss Muffet’ by Christophe Beck, which appears in the dream sequence shared by Faith and Buffy in the season 3 finale, ‘Graduation Day Part 2.’ This track does not appear again until part way through season 4, when a version of it plays in the episode ‘This Year’s Girl.’ It appears during the opening scene of the episode when Faith and Buffy are sharing another dream together, establishing it as the leitmotif for Faith/Buffy dream sequences.

Even when you aren’t consciously aware of the significance of every leitmotif in Buffy, they still create subtle emotional reactions in you which help you engage with the story better.

To wrap up my point, I want to offer an example of a fantastic track in Buffy and how it is used to draw viewers to a specific moment and create an intense emotional reaction. One of the absolute best episodes of Buffy is the season 5 finale, ‘The Gift.’ One of the many great things about it is the soundtrack, done by composer Christophe Beck (who also composes the orchestral score for Frozen, Frozen 2, Bring It On, WandaVision, and Ant-Man). Christophe Beck came back to the show to compose for this episode, and the most important track he created was ‘Sacrifice.’ From what I’ve observed, there are only three instances in which this leitmotif is used: twice in ‘The Gift,’ including Buffy’s pivotal final scene, and once in ‘Bargaining Part 2’ from season 6. The most important time that ‘Sacrifice’ is used is obviously when Buffy is sacrificing her life for Dawn’s at the end of ‘The Gift’; that’s why the track is called what it is. The track is used earlier on in ‘The Gift’ when Buffy and Giles are talking as they prepare for the final battle, and Buffy expresses her exhaustion with life and her vow that if Dawn dies she will stop being the Slayer. The use of ‘Sacrifice’ here is to foreshadow what’s to come. The longing for rest Buffy feels, and her wish to stop being the Slayer, will both be fulfilled when she dies at the end of the episode. The track is used in this scene to hint at what’s to come for viewers. The track is repeated in the second part of the season 6 opener, ‘Bargaining Part 2,’ when Buffy is standing at the top of the tower shortly after being brought back to life. This entire scene is a very deliberate callback for viewers as well as for Buffy: she is standing right where she was when she died, flashback clips play of her final moments, and Buffy repeats her own words to Dawn from ‘The Gift.’ Using the track ‘Sacrifice’ in this scene helps make the callback even more obvious. The song is able to elicit an extreme emotional memory for the audience, which the familiar setting and flashback clips may not have been able to create on their own. It reminds you not just of what happened in the season 5 finale, but of how you felt.

Of course, this foreshadowing and flashback use of ‘Sacrifice’ would not be as emotionally effective if Buffy’s last scene from ‘The Gift’ wasn’t such a fantastic scene, the song so skillfully employed, and the song itself so beautiful. ‘Sacrifice’ is one of my favourite tracks in Buffy. I love playing it on the piano. I love listening to it. When it plays at the end of ‘The Gift,’ it makes me almost cry. It’s saved for one of the most significant scenes in the entire series. The emotions are so elevated because soon after ‘Sacrifice’ starts playing, the rest of the audio is stripped away. All you can hear is Christophe Beck’s music and Buffy’s voice as she says her final words to Dawn, overlaid with silent shots of Buffy’s body, her heartbroken friends, and finally her gravestone.

In summary, I think the Buffy soundtrack is especially strong for a TV show, since it not only features breathtaking music but carefully applies that music to create the best emotional response from the viewers. TV shows don’t require a fantastic soundtrack to be successful, but I definitely think that the strength of the soundtrack makes Buffy infinitely better than what it would have been without it. The orchestral soundtrack for Buffy sadly isn’t available on Spotify or Apple Music at this time (though the soundtrack for the musical episode is). However, if you like instrumental scores, the official Buffy soundtrack can be found in various places on YouTube, and there are also many people who upload unofficial tracks (including here and here). Either way, I would definitely recommend checking out the music, or at least paying closer attention to it next time you watch Buffy. The creators clearly put a great deal of thought into it, and once you start recognizing the leitmotifs of the show, it reveals a whole hidden layer of storytelling.

#happy 20th anniversary of the gift #this took a lot out of me im tired now #anyways enjoy #this is for all you music buffs (enjoy my pun)#essay #analysis #meta #buffy #btvs #my post

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sou-ver-2-0 · 4 years ago

Note

Maybe I'm thinking too much about the Persona games today, but are there any characters that you would pair any tarot arcana with?

What a fun question! I think that tarot cards have like, the coolest aesthetic ever. Unfortunately, I don’t know much about tarot arcana, so I went on a deep dive into Wikipedia to try to understand it. I’ll apologize in advance that A. E. Waith’s definitions for these cards feel very heteronormative. I’m working with the traditional definitions, but I try to make them work for a modern story.

Here are the character-card combinations I came up with:

0 – The Fool: Folly, mania, extravagance, intoxication, delirium, frenzy, bewrayment. [If the card is] Reversed: Negligence, absence, distribution, carelessness, apathy, nullity, vanity.

Joe Tazuna

Joe Tazuna is our gaudy, “extravagant” fool! The fool represents the “everyman,” and is often the “protagonist of the story” in Major Arcana. Joe, who is good-natured and clumsy, has the type of personality you’d expect to see in a story’s protagonist. Ironically, he is one of the first to die. His “absence” is deeply felt by our real protagonist, Sara, who must go on the “Fool’s Journey” “through the great mysteries of life and the main human archetypes” without him.

1 – The Magician: Skill, diplomacy, address, subtlety, pain, loss, disaster, snares of enemies; self-confidence, will; [it signifies] the Querent, if male. Reversed: Physician, mental disease, disgrace, disquiet.

Reko Yabusame

Reko is our “skilled,” “confident,” strong-willed musician magician! (And she often uses masculine pronouns, so why not give her a masculine card?) Reko has also suffered through “pain, loss, and disaster,” which has shaped her current mature, kind personality. And in the past, she was a “disgraced” rebellious rock star who burned through bands.

2 – The High Priestess: Secrets, mystery, the future as yet unrevealed; the woman who interests the Querent, if male; the Querent herself, if female; silence, tenacity; mystery, wisdom, science. Reversed: Passion, moral or physical ardor, conceit, surface knowledge.

Tia Safalin and Maple

This card made me think of both villainous ladies. Tia Safalin has knowledge of science, while Maple seems to also have mysterious wisdom about human nature and the future.

3 – The Empress: Fruitfulness, action, initiative, length of days; the unknown, clandestine; also difficulty, doubt, ignorance. Reversed: Light, truth, the unraveling of involved matters, public rejoicings; according to another reading, vacillation.

Sara Chidouin

The Empress can only be our Sara! The girl who takes “initiative” and becomes the group’s leader! She seeks to bring “light” and “truth” to discussions, and she “unravels mysteries.” And yet, she also suffers from “doubt” in herself, and “ignorance” of her surroundings.

4 – The Emperor: Stability, power, protection, realization; a great person; aid, reason, conviction also authority and will. Reversed: Benevolence, compassion, credit; also confusion to enemies, obstruction, immaturity.

Mr. Chidouin

We don’t know much about Mr. Chidouin, and I do not trust him one bit. However, he seemed to be a suitable companion to his “Empress” daughter. Kai Satou certainly thought he was “a great” and “benevolent” person, though he has an “immature” way of speaking.

5 – The Hierophant: Marriage, alliance, captivity, servitude; by another account, mercy, and goodness; inspiration; the man to whom the Querent has recourse. Reversed: Society, good understanding, concord, over kindness, weakness.

Kai Satou

The words “servitude” and “captivity” suit our homemaker Kai, who always lived in service to others—either Asu-Naro or the Chidouins. Kai is a “good” man, but he is also shown to be one of the “weakest” participants since he dies early on.

6 – The Lovers: Attraction, love, beauty, trials overcome. Reversed: Failure, foolish designs. Another account speaks of marriage frustrated and contrarieties of all kinds.

Nao Egokoro

I know that Nao’s story doesn’t have much romance in it, but I liked the duality of “trials overcome” combined with “failure” and “foolish designs” for our poor, brave Nao. She is a girl who grew a lot, and her heart was overflowing with love for her new friends, but in the end she was doomed to failure with the Sacrifice Card.

7 – The Chariot: Succour, providence; also war, triumph, presumption, vengeance, trouble. Reversed: Riot, quarrel, dispute, litigation, defeat.

Alice Yabusame

So many aggressive words in that description made me think of our “Murderer,” Alice! Alice was “triumphant” in his last fight with Original Sou, but he can be “defeated” by Rio Ranger.

8 or 11 – Justice: Equity, rightness, probity, executive; triumph of the deserving side in law. Reversed: Law in all its departments, legal complications, bigotry, bias, excessive severity.

Keiji

Of course I had to give “Justice” to everyone’s favorite self-proclaimed policeman, Keiji! Keiji lays down the law in our group, and don’t we all hope he’ll favor the “deserving side” instead of showing “excessive severity.”

9 – The Hermit: Prudence, circumspection; also and especially treason, dissimulation, roguery, corruption. Reversed: Concealment, disguise, policy fear, unreasoned caution.

Rio Ranger

“The Hermit” feels like a strange card to give to our childish doll villain, but I liked the descriptive words associated with “corruption” and “policy fear.” Rio Ranger commits “treason” by directly killing a participant, and he also “conceals and disguises” himself with masks and other people’s clothes.

10 – Wheel of Fortune: Destiny, fortune, success, elevation, luck, felicity. Reversed: Increase, abundance, superfluity.

Sue Miley

Sue Miley is the villain who introduces us to our destiny with the Practice Vote and the First Main Game. She sadistically wishes everyone “luck.”

8 or 11 – Strength: Power, energy, action, courage, magnanimity; also complete success and honours. Reversed: Despotism, abuse of power, weakness, discord, sometimes even disgrace.

Q-Taro

Q-Taro suits “strength” perfectly! His character arc is all about learning what true strength is. He begins the game from a place of cowardice and selfishness, but he becomes courageous and honorable.

12 – The Hanged Man: Wisdom, circumspection, discernment, trials, sacrifice, intuition, divination, prophecy. Reversed: Selfishness, the crowd, body politic.

Shin Tsukimi

How could my favorite doomed antagonist have any other card but “The Hanged Man”? Shin is cursed from the beginning of the game with a “prophecy” that he will die. He relies on “intuition” more often than logic and he can be very “selfish,” but he is also “wise” enough to want to protect the most vulnerable among them, leading to his “sacrifice.”

13 – Death: End, mortality, destruction, corruption; also, for a man, the loss of a benefactor; for a woman, many contrarieties; for a maid, failure of marriage projects. Reversed: Inertia, sleep, lethargy, petrifaction, somnambulism; hope destroyed.

Ranmaru Kageyama

I liked the card “death” for our main dummy Ranmaru, who has died and transformed. The words associated with “sleep” and “lethargy” also reminded me of his final moments, where he commented that death felt like going to sleep.

14 – Temperance: Economy, moderation, frugality, management, accommodation. Reversed: Things connected with churches, religions, sects, the priesthood, sometimes even the priest who will marry Querent; also disunion, unfortunate combinations, competing interests.

Kazumi Mishima

“Temperance” sounded like a good card for a wise character who lives in “moderation.” Mishima was cursed with an “unfortunate combination” of votes in the Practice Vote.

15 – The Devil: Ravage, violence, vehemence, extraordinary efforts, force, fatality; that which is predestined but is not for this reason evil. Reversed: Evil fatality, weakness, pettiness, blindness.

Original Sou Hiyori

“The Devil” is the most perfect card for my favorite villain! He is “violent” and goes to “extraordinary efforts” to manipulate the participants, but he has also suffered a “fatality.” I thought the phrase “predestined but is not for this reason evil” was especially intriguing for Original Sou, since I often wonder how much free will he could exercise within Asu-Naro.

16 – The Tower: Misery, distress, indigence, adversity, calamity, disgrace, deception, ruin. It is a card in particular of unforeseen catastrophe. Reversed: Negligence, absence, distribution, carelessness, apathy, nullity, vanity.

Gashu Satou

Gashu brings a terrible “unforeseen catastrophe” in the Second Main Game, when he would rather kill himself then give our characters a chance to escape! He is undoubtedly the best character for “The Tower.”

17 – The Star: Loss, theft, privation, abandonment; another reading says--hope bright prospects, Reversed: Arrogance, haughtiness, impotence.

Kanna Kizuchi

Kanna has suffered “loss” and she may be “abandoned” by the people she loves. However, her survival also brings “hope” and “bright prospects” in spite of the Death Game’s cruelty.

18 – The Moon: Hidden enemies, danger, calumny, darkness, terror, deception, occult forces, error. Reversed: Instability, inconstancy, silence, lesser degrees of deception and error.

The Dummies

The words related to “hidden enemies” in the “darkness” reminded me of our dummies, who are tasked with killing the human participants.

19 – The Sun: This card is generally considered positive. It is said to reflect happiness and contentment, vitality, self-confidence and success. Sometimes referred to as the best card in Tarot, it represents good things and positive outcomes to current struggles.

Gin Ibushi

Gin Ibushi is a light in our lives who brings Sara emotional comfort! In spite of having no tokens to defend himself in trades, nobody sent him the Sacrifice Card, which is a wonderful thing.

20 – Judgment: Judgement, Rebirth, Inner-calling, Absolution, Karma, Causality, Second chance

The Man from the Memorandum

The Man from the Memorandum, the winner of the Previous Death Game, seems to be the Mastermind of a new Death Game and is calling for a “second chance” for the High School Girl to survive. He pronounces judgment on every victim.

(It’s entirely possible that the Man from the Memorandum is Mr. Chidouin himself, which would make my distinguishing between them silly in hindsight! For now, I’ll assume they’re different people.)

21 – The World: Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.

The 17-Year-Old School Girl

Is 15.5% enough to “assure the success” of the High School Girl? Is that enough to “change her place” from dying in the First Death Game? Or will she be “permanently” dead? The entire “world” of the Death Game seems to hinge on this critical role!

#yttd #your turn to die #kimi ga shine #your turn to die spoilers #asks #meta #mine #tarot #I can't believe I matched a character to every single card #like my god...look at what a nerd I am hahaha

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antibioware · 4 years ago

Text

My final thoughts on Mass Effect: Andromeda (a 3 years late review)

So I spent the past week and a half playing a game I paid 13€ for, one that I promised myself I wouldn't touch but that in the end I gave a solid try to anyway, because I was willing to give Andromeda the benefit of the doubt. Because I'm aware that sometimes I'm a bitch, and that the Mass Effect trilogy had its own problems too, but I still regard it as one of the best gaming experiences of my life.

It wasn't as bad as I had expected it would be, but that doesn't make it good. Above all else, Mass Effect: Andromeda is a game that could have been interesting, had the creators actually cared to make something out of it outside of just “Dragon Age Inquisition in the Mass Effect universe”.

I wanted to write a more coherent post about what I didn’t like about it, aside from just shitting all over it like I’ve been feeling like doing since the canonical bury your gays in the game slapped me in the face. So here it is, an overlong post about a 3 years old game.

Before getting into the main elements that I disliked, I wanna preface this post by saying that I enjoyed parts of the game. The main characters, while not as well characterized as they could have been (no Bioware character ever is), grew on me the more I played the game, and by the end were the main reason why I kept playing. Unlike DA:I, the writers did a really good job building up the found family trope in this game, and while it turns corny at times, it’s very heartwarming. I think many of the planetary settings in Heleus were stunning to look at, to the point that I didn’t even mind all that much having to drive from point A to point B.

I didn’t hate the game, and I’m speaking from the point of view of someone who enjoyed it, but not enough to simply accept its many flaws.

The problems with the gameplay itself

There are three main things that I don’t think work well and are up in your face since the first seconds of the game: the game interface, the fight mechanics, and the open world aspect of the game.

◦ The first impact I had on Andromeda, right from the first 2/3 hours of playing it, was that it was very cluttered and very, very confusing. I had just finished playing ME3 and I had issues understanding how to move without having a proper map onscreen, how to read throught the thousand tutorials for the 100 new, useless elements they added to the game that are either reused from ME1 or taken directly from DA:I. The game didn’t need a crafting system, especially not one DIVIDED IN TWO DIFFERENT SECTIONS, it didn’t need an inventory system, and especially it didn't need to have the sheer amount of sidequest it had.

◦ The fight mechanics + leveling up/classes system is a hot mess. I understand they wanted to try something new, and in part they did make the fighting feel more fluid, but not being able to rely on teammates for necessary stuff like overloads/specific powers that you need during fights severely impaired the strategic element of the game. Now it’s just a third person shooter with teammates dying left and right because you have 0 control on how they fight, aside from putting them in one place or another.

The fact that you can only use 3 powers at the time is a consequence of the confusing leveling up system. Because you can have an endless amount of powers you can give your character, they needed to find a way to make them not too overpowered. The problem is…. You had more powers to use in-game in ME1. It doesn’t work so well.

When the fighting mechanics in ME3, a game that came out in 2012, feel way fluider and more enjoyable than the ones from the game that came out in 2017, something is very wrong.

◦ Open world games are a challenge, because too many developers don’t understand that turning a game into an open world doesn’t make it good, it just makes it bigger and slower. It was a problem with Dragon Age Inquisition, and it’s a problem here with Andromeda - with the only good aspect being that at least Andromeda gives you a decent car to explore the planets.

ME1 had some level of open world-ness, and there was a valid reason why ME2 and ME3 got rid of the concept: the maps you’re given are a big, cluttered mess of nothing. You have several thousands sidequests, many of which incredibly similar to each other, and nothing fucking else. Sometimes you will accidentally stumble upon something interesting, and then return to a 6 hours drive into the nothingness that keeps repeating over and over again.

It got to the point I almost stumbled upon the endgame because I got exhausted of running around doing errands, and I tried continuing the main plot, only to realize I was almost done with it. That was it.

Empty self-referencing

This is the term I used to describe my girlfriend why the way the game made call backs to the previous games bothered me so much. Call backs aren’t new to the concept of the game (the Mass Effect trilogy literally lived on characters returning from previous games, referencing things that had previously happened, etc.), but because this game wanted to be a separate thing from the ME trilogy, it couldn’t use this sort of material. And that’s completely fine! The game wanted to be its own thing, I was happy about it at first, because the trilogy was over and done for. If Mass Effect was indeed gonna continue, it needed a fresh start.

The problem is, it also needed to remind players that it’s a Mass Effect game, the game from which Commander Shepard came.

So, how to solve this matter? Well, instead of referencing stuff that actually happened in the trilogy, it solves the referencing aspect by putting a bunch of relatives of characters from the trilogy in the game. You get Conrad Verner’s sister, Nyreen Kandros’s cousin, a lost illegitimate son of Zaeed Massani, a brief cameo of Garrus Vakarian’s dad, a krogan on New Tuchanka being from clan Urdnot, and so on. And it was funny the first time or so, maybe even the second, but at some point it just turned awkward, and I started asking myself, “is this it? Is this all that’s left of the trilogy, just a bunch of big name characters to remind the player you belong from the same universe?”. The brief way they referenced back to Shepard was also very awkward and felt... out of place, with the rest of the game.

A couple call backs I really liked were:

Liara being acknowledged for her work as a Prothean researcher and being in contant with Ryder Senior, without much reference being done to her time in Shepard’s crew. It was good, seeing her from an outsider perspective.

The fact that Avitus Rix, being a turian ex-Spectre, knew Saren and was in fact his disciple.

Both these elements are things that make sense and tie the game back to the trilogy beyond just going “hey, this x character is the relative of this other x character, isn’t it crazy!”

The plot, and the problem with binary choices

It’s easy to make fun or critique the game struggling to find its own plot after something as big as the ME trilogy was. But Bioware isn’t an indie developer, it’s a huge fucking company, and they could have done better.

While I liked the design of the Remnants architecture and enemies, putting a plot point revolving around an ancient, long lost alien civilization who was much more technologically advanced, sounds a lot like a bad repeat of the Protheans.

I liked the Angara conceptually, but I didn’t like their design all that much and I often found it hysterically funny that angara are supposed to be a deeply emotional race, when the animators left them stuck with those mono expressive faces and unemotional eyes.

And on top of all of this, the kett are boring villains. The exaltation progress is really just a bad repeat of how Reaper indoctrination worked, and the way they talk reminds me of the big bad templars from the Dragon Age universe. It’s literally nothing new, and because of it, it’s boring.

When I was playing the endgame, all I kept thinking was “this is it? this is all they came up with? for real?”. I liked the twins aspect of the endgame, but aside from that, it didn’t feel satisfying.

And now comes the reason why it didn’t feel satisfying: the game got rid of the Paragon/Renegade system from the trilogy, and because of that, they also got rid of the possibility of additional problem-solving solutions during big choices.

In Andromeda, almost every major quest has a binary choice attached to it: choose this or that. Burn the facility or save all the angara but leave the facility standing. Save the krogans or Raeka. Pick Sloane or Reyes. Keep Sarissa as the Pathfinder or not. Etc.

in the trilogy, complete, important binary choices were rare (choosing Ashley or Kaidan is probably the biggest one) and the consequences had long lasting effects. Not all of them did (saving or killing the rachni in ME1 and rewriting or destroying the geth in ME2 didn’t have so many long term consequences in ME3, for example), but a great deal meant big changes in the following games.

The issues with these choices in Andromeda? None of them matter. Characters will get angry at you for going against their will in a single dialogue line, and then never mention it again. The opinion on the Nexus won’t change if you expose Spender, Addison’s connections to the Exiles, or Nexus people targeting the angara. None of your companions will betray you or leave you for going against their will during their loyalty missions.

A Mass Effect game with choices that don’t influence the final result of the game feels like a joke, and while I know in many ways the trilogy also had a problem on this matter on some parts, dead characters stayed dead and betraying a friend’s trust meant losing them in the near future

The unavoidable part where I mention the issue with LGBT rep in this game because I’m a nonbinary lesbian and I can’t detach that aspect of myself from how I consume media

Endless gays and trans folks out there have already written this sort of matter so as my last point of critique, I’ll make it quick. Bioware has a long story with homophobia and transphobia in its character writing - this without mentioning the huge problems with racism in the character writing, too. Many gay/bi women in Bioware games are written by the same homophobic straight cis man with a lesbo fetish, AKA Lukas Kristjanson, and that alone gives a really good feeling on why such issues exist.

The original Mass Effect trilogy had very little gay romance options, out of the amount of romance options: as of ME3, there are two main gay romance options for fShepard (Liara and Traynor, without counting the mini-romances that were put in the previous games for pure fetish fuel) and two for mShepard (Kaidan and Cortez, both only added in the last game).

Andromeda wasn’t... the big breath of fresh air in the representation department they tried to pass it as. There are more romance options, but for once, there add to add another m/m romance option later on because the only gay romance available were with minor NPCs, and there’s an issue with the amount of content gay romances get compared to main het romances.

There’s a single trans NPC, and it's a random person you meet who tells you her deadname and the reason she transitioned right away. Ugh.

And now we come to the bury your gays mission that made me almost uninstall the game: the mission to find the turian Pathfinder with the help of his partner, the previously mentioned Avitus Rix, who also happens to be the first gay male turian character in the game (the first gay female turian being Nyreen Kandros, who dies btw). You invest time to trace back to the turian arc, while listening to Avitus talk about how important the turian Pathfinder is to him, you realize pretty fast they’re lovers, and when you find out the turian arc, it’s all to discover that the Pathfinder is already dead. Not a choice in the game that could accidentally kill him, like with Raeka, or an active choice you make to keep him in his role, like Sarissa. He’s already dead, and you’re left with Avitus alone and mourning.

The game is from 2017. This sort of bullshit is unacceptable, and I will keep screaming it until Bioware manages to pretend like they care about their LGBT fans.

To end this mess of a post - Mass Effect: Andromeda lasted me a total of 50 hours of game, and in a way, I’m glad I got it out of my system. It was a delusion, but at least now I can cross it off my list and go back to playing other stuff. I understand that this is a game many ended up liking, and I’m sad I can’t say I’m among them, and that I couldn’t even fully enjoy the game at times. Also I promised myself I wouldn’t mention this but goddamn the facial animations of the game were so ugly.

DESPITE THIS, I really loved the characters, and I very much enjoyed Vetra’s romance, which was the main reason why I bought the game.

#long fucking post ahead beware #mass effect #mass effect andromeda #me:a

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takaraphoenix · 5 years ago

Note

Dr who for the ask game

Thanks for playing! This is also a big, fun one! :O (I do love that the majority of these asks hit target on my own biggest obsessions x3 We checked off like all the live action shows at this point, I think, the only things left are anime/animated xDDD)

Again with a cut due to the sheer size. ^^°°°

Top 5 favourite characters: CAPTAIN JACK HARKNESS, Martha Jones, Donna Noble, The Doctor, Yasmin Kahn

Other characters you like: Rory Williams Pond, Graham O’Brien, Mickey Smith, Bill Potts, Sarah Jane Smith, Craig Owens

Least favourite characters: Rose Tyler by a landslide

Otps: not realy any actual OTPs but ships I guess I’m fond of would be Vasta/Jenny and Rory/Amy

Notps: every ship involving the Doctor, because I just honestly find it weird and uncomfortable to look at the Doctor as a romantic or even worse yet sexual being, but most of all Doctor/Rose and Doctor/River, also Jack/Ianto

Favourite friendships: I am living for the current team dynamic, 13-Yaz-Graham-Ryan are really good but my forever favorite is the Doctor and Jack, also the best team-up was the Doctor with Donna and Martha, that was perfect

Favourite family: THE FAM! 13′s team

Favourite episodes:oooh mmh, I do have multiple favorites, so let’s do this!

Blink: it is such a good episode, there was a time I just popped that one in when I had 40 minutes to waste

Utopia/The Sound of Drums/Last of the Time Lords: for me personally, this is where Doctor Who peaked. My absolute favorite storyline and episodes and team-up - my favorite Doctor with BOTH my favorite companions in an episode with my favorite Master as the enemy. Amazing. There was a time when I would regularly rewatch this, just these three

Turn Left/The Stolen Earth/Journey’s End:Suuuch a satisfying conclusion for a four series plotline, all of the companions coming together like that? It was so good

The Lodger & Closing Time: I love Craig and I love how these two episodes switch things up!

Favourite season/book/movie: Rather obviously, series 3 - the return of Jack, the series where Martha is the companion, a series with my favorite Doctor and four of my favorite episodes in it!

Favourite quotes:THE ANGELS HAVE THE PHONE BOX! xD And the wibbly-wobbly timey-wimey stuff! I got that one on a necklace even! *laughs*

Best musical moment: uuurgh the soundtrack of this show is actually so good? I listened to it on a loop for years. Series 3 and 4 being my favorites, they make you feel things, man.

Moment that made you fangirl/boy the hardest: Just this series when Jack returned. And let me elaborate to just convey how hard I fangirled at that, because it wasn’t just “oh a fave!”.

You see, Jack is... kind of why I’m here? I watched the first series with my mother back when it started airing in Germany. But they kind of... stopped dubbing it and it stopped airing in Germany and eh, I was okay with it because this show seemed weird like they just switched out the actor of the MAIN CHARACTER who does that what the fuck and I really liked Jack but he was gone now too so oh well.

However, then I read online about how Jack was in series 3. So... I went online and Doctor Who is genuinely the first TV show I ever watched in English, because I wanted to see Jack but there was no dub.

Then series 3 ended and both Jack and Martha left and I was very meh because I remembered that this is the show that constantly replaces its whole cast.

You can probably guess what happened next, but Jack was in the finale of series 4. So I went back into Doctor Who, rewatched what there has been so far all the way up to the series 4 finale - and that was when I was sold, because holy shit even with the switching of companions, they just bring them back! They just brought them all back! That was such a good pay-off.

Ironically, that was when I actually stuck around and started watching the show in real time instead of waiting for the next Jack appearance to bring me back from hibernation. Ironically because - well, that was the last we saw of anyone. (Aside from 10 in the 50 year special.)

That hard, hard cut from 10 to 11, no return of any companions...

Needless to say that when 12 came and went with no care for anything pre-11, I kind of... came to accept that this was it. Especially when they announced yet another hard cut - as in Moffat would finally be replaced and with the new era, both a new Doctor and new companions - I was so sure we’d never get to see anyone from the old crew again.

So when, after literally ten years, Jack Harkness returned and was so... so... Jack, I made the loudest, most unholy sound and the excitement of them actually acknowledging that he would be back for more and he would be there when the Doctor needs him? Tears of joy.

(but aso pls #LetMarthaMeet13 okay? Okay)

When it really disappointed you:YOU’RE MAKING A 50 YEAR ANNIVERSARY SPECIAL. YOU HAVE SOOO MANY GOOD COMPANIONS. BUT. BUT YOU BRING NONE OF THEM BACK. ONLY ROSE TYLER’S FACE. OF ALL OF THE FACES. OF EVERYONE I COULD HAVE SEEN AGAIN IN THAT SPECIAL, IT HAD TO BE BILLIE PIPER’S MEDIOCRE ACTING. REALLY? REALLY??

Saddest moment: When 10 regenerated

Most well done character death: Surprisingly enough, this show makes me care even about the one episode characters to the degree that I find their deaths frustrating. It’s pretty good at character deaths overall

Favourite guest star: Does Craig Owens count? Because he only had two appearances in total. And the second one was genuinely a surprise to me; I was sure that The Lodger would be a stand-alone, never to be seen again kind of deal

Favourite cast member: John Barrowman! David Tennant! Freema Agyeman! I love all three of them and seeing them in other things always makes me really happy!

Character you wish was still alive: I mean, Bill. Can you imagine if the lesbian companion had gotten to meet 13?? Death :D

One thing you hope really happens: Martha. I mean, come on. Jack is back, Jack warned the Doctor, promised to be there when needed. There’s no way Jack lost contact with Martha and Mickey, even with those two off in space fighting aliens alone. I’d love for this... very, very big plotline that is currently happening to include the Doctor’s old friends coming back once more to help.

Most shocking twist: I mean... I mean it’s gotta be this series’ Surprise Origin Story. Like, I still can’t quite comprehend that one.

When did you start watching/reading?: As mentioned above, when it first started airing in Germany

Best animal/creature: Does the TARDIS count as a creature? Because then Sexy wins!

Favourite location: THE TARDIS. I wish they’d show it more often just casually. I wanna see the companions hang out in there, I wanna see their rooms, see that indoor pool and stuff

Trope you wish they would stop using: "OH NO THE DALEKS ARE STILL ALIVE AFTER THE LAST TIME I TRIED GENOCIDE ON THEM *gasp*”... Like. The very first time they brought them “back from the dead”, it was really cool because as a newbie you never met them before but you get they are important. Then they were wiped out. And then they returned again. And okay, sure. So they were wiped out again. And miraculously survied again.

Look, I get it. Doctor Who has three recurring entities in the villain gallery who are like... obligatory - the Master, the Daleks and the Cybermen. But for the love of everything, stop trying to show it as a “surprise twist” that the bad guy is a Dalek like we all knew they’re coming they’re the cockroaches of the universe, they ALWAYS surprise, stop acting like we should be shocked that they’re back again.

Every time, the Doctor goes Pikachu meme but with sad eyes and like just... have the Doctor groan, kick a Dalek and go “not you again”, instead of “how did you POSSIBLY survive THIS? :O” because after the sixth miracuous survival of a genocide, it stops being a surprise twist... -_-

One thing this show/book/film does better than others: Clearly something, because it has me come back for more like a masochist despite me being a character-driven viewer - me, abandoning the show after the first series was very in character, because I’m attached to characters and if you routinely replace all the characters, that’s... not really my thing. Somehow, this show defies the odds there

Funniest moments: JACK FLIRTING WITH PEOPLE AND THE DOCTOR GOING “NO STOP THAT!” xDDD

Couple you would like to see: NONE. NO ROMANCE. KEEP THAT SHIT OUT OF MY DW!!! Urgh. Just give me fun found family space adventures. I swear ever since the cast announcement I have had a twitchy eyebrow waiting if they’ll push for Ryan/Yaz and so far I am sooo glad they are NOT. I just... want friendship and space adventures, no fucking romance. At all. Not with the Doctor, not between companions. No drama

Actor/Actress you want to join the cast: ...to stay in character, I have to say Dominic Sherwood. Partially because I am obsessed with him, but also because I WANNA HEAR HIS BRITISH ACCENT FOR A WHOLE ASS SERIES PLEASE

I would also like to see the return of James Marsters though. Time Heist teased by showing his face and acknowledging his existence in Doctor Who (it’s not like DW has acknowledged a whole lot of Torchwood canon so far, considering the catastrophic events TW has dealt with without the Doctor...), so that had me kind of hopeful he may at least cameo for an episode...

Favourite outfit: I looove Martha’s red leather jacket and Jack’s coat

Favourite item: The chameleon device

Do you own anything related to this show/book/film?: *clears throat awkwardly* ...Yes?

a metro card holder thingy with the TARDIS on it,

an I pin I have on my pencil case,

a necklace with a miniature TARDIS,

a necklace with the wibbly-wobbly timey-wimey quote in a swirl on it,

a necklace with a Weeping Angel pendant,

a mug with the 10th Doctor as a cat on it,

a lanyard with Police Call Box written all over and a miniature TARDIS dangling on it

a TARDIS dress,

a whoosh-sound making door opening TARDIS with size-fitting figures of the 10th Doctor, Jack, Martha, K9, Idris, 11, Rory and John Hart (it’s James Marsters’ pretty face, okay?),

a Funko Pop 10th Doctor,

another TARDIS but this one is smaller and can’t open,

a larger TARDIS that can open (and is the right size for my Doctor Whooves),

a Doctor Whooves (if that counts since he’s technically My Little Pony but also he’s the Doctor so like...),

a TARDIS-blue stuffed owl with Police Owl written on it,

the first four series on DVD,

a poster from the 50th Anniversary with the War Doctor walking away from an explosion and 10 and 11 on either side of him,

a pocket watch that is the chameleon device

What house/team/group/friendship group/family/race etc would you be in?: Mmmh I would like to be on the current team the most, I think? Generally speaking, their adventures were less intense than most others and I dig the family vibe

Most boring plotline: Boring, huh? There are always a couple stinkers, at least one in each series, but a really boring plotline was... Clara’s post-Impossible-Girl one. I LOVED her as the Impossible Girl, she was so interesting and I think that after she went into the Doctor’s timeline, the character should have been retired. Have her, I don’t know, dissolve there, since she is spread out through time. But that she stuck around was... not good, for her character? Her love drama with Danny was incredibly boring and not fun to watch (especially when she tried to kill the Doctor :D)

Most laughably bad moment: THAT FUCKING MOON EPISODE. THE FUCKING EPISODE WHERE THE FUCKING MOON TURNED INTO A FUCKING EGG AND AN ALIEN HATCHED TO THEN LAY A NEW MOON EGG IMMEDIATELY AFTER BEING BORN AND HUMANS JUST FUCKING SHRUGGED THAT SHIT OFF. Urgh. There are a lot of cringey things happening on this show, but this takes by far the crown. It was so stupid, so dumb, so ridiculous

Best flashback/flashfoward if any: Every time we learn more about the Doctor’s past *^*

Most layered character: I... I mean the Doctor. So many layers, so many lives, so many years

Most one dimensional character:Mh, this is harder... Among the not one-episode-off characters? I guess Nardole. Like, sure, good guy, but... not really all that deep that one

Scariest moment: Blink with the Weeping Angels. They lost A LOT of their scariness the more they were used - Moffat really overused them, in my opinion; they would have done better only appearing very rarely. But that first episode with them was just daaamn

Grossest moment: Cassandra?? Woman only made of skin?

Best looking male: CAPTAIN JACK HARKNESS

Best looking female: MARTHA JONES

Who you’re crushing on (if any): Martha Jones

Favourite cast moment: John and David being cute behind the scenes is always amazing, but the bes moment is definitely the 500 Miles video!

Favourite transportation: The TARDIS, that’s not even a question!

Most beautiful scene (scenery/shot wise): Whenever we get to see (not destroyed) Gallifrey? It’s so gorgeous??

Unanswered question/continuity issue/plot error that bugs you:SO MANY AFTER THAT LAST SERIES. But also things like: Where did Clara fuck off to in her flying diner? What exactly is Jack doing now that there is no Torchwood anymore? How in the world did Torchwood ever even work like how was the Doctor just never around during these gigantic problems?? WHO WAS THE DOCTOR’S FIRST WIFE? And what was the Doctor’s child like? Because the only one ever even mentioned is the Doctor’s granddaughter Susan, but a granddaughter implies one more generation between. WHERE IS JENNY? Since she is also the Doctor’s daughter but also just fucked off into space and like why is she not trying to track her parent down??

Best promo: I mean, it clearly works when they show me Jack’s face so that’d be it for me :D”

At what point did you fall in love with this show/book: At the series 4 finale, as above more elaborately explained

IN DEPTH FANDOM QUESTIONS

#Doctor Who #In-Depth Fandom Ask Game #send me asks #fantasylover16

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dicecast · 5 years ago

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Blast to the Past: why Nashkel Mines are bad

So in this sub series I tend to focus a lot on classic RPGs, especially Baldur’s Gate, and how I think it has a lot of valuable lessons that modern rpgs could learn from. But sometimes we should also remember what doesn’t work about the past and why I’m still bitter about a game I played when I was in 5th grade.

Ok so Nashek Mines are a terrible first level for a game. We talked before about how BG had a very good (if not amazing) tutorial but also important is hte first level, and I think that the Nashkel mines are probably one of hte reason why a lot of players gave up and stopped playing. But first we need to talk about BG’s story design. Basically BG is a zone based open world RP, once you get out of the tutorial, you can go almost everywhere on this map from the word go

If you want, you can go straight from Candle Keep all the way to Durlag’s Tower. You shouldn’t cause that is a stupid and you will die but yo ucan and you can explore most of these at any point in the story line. The only exception to this rule are 4 locations, which can only be accessed by your actions in the plot which are

The bandit camp

Cloakwood Forest

Baldur’s Gate

Candlekeep

To advance to any one of these locations you need to do some plot stuff. So basically you wander for a time, unlock an area, and then wander to the next one. In fact the vast majority of the map has nothing to do with the main plot, which really is just going to a few locations. The plot is basically

Candlekeep Tutorial

Go to the Friendly Arm Inn (optional)

Go to the Nashkel Mines

Stop by Beregost (optional)

Kill the Bandits at the Bandit camp

Go to the Cloakwood mines

Stop by Baldur’s Gate and go to the Iron Throne Headquarters

Go to Candlekeep again

Return to Baldur’s Gate Palace

Go to the underground City and Fight the final Boss

Everything else is basically extra, so the game is very much controlled your own pace. So far so good. Here is the issue, the event you have to do to unlock most of the plot is the Nashkel Mines, and it is the only event in the game that is sort of timed. The first 4 companions you are likely to get all have something to do at the mines and if you don’t go there in time, they leave you, and frankly if you really want to get strong enough to play this game properly, from a mechanical perspective it is best to go to the mines, clear them out gain a level or two, and then go exploring in the wilderness, because otherwise you really might just die. From a basic mechanical perspective, the Mines work fine, they are just challenging enough that you have to pay attention to the mechanics and bring a full party, but you can do the whole area as a level 1 party without too much difficulty, and you will almost certainly gain a level in the process.

The problem with the miens come from a story/play sense, because they are super boring. They are large, full of tight corridors that the path-finding can’t deal with, the vast majority of the enemies are just kobolds, who are not exactly exciting to battle, and its just a mine, like there aren’t any cool elements about the area which makes the place stand out. You have to wade through 4 floors of this place before you finally get to the boss, who is like “What are you doing here” and then you kill him and its over.

(this is where people’s nostalgic attempt to relive the game usually dies)

From a story perspective, it gets even worse. There are only two subquests down here, both of which are “find object and give to person” and nobody interesting to talk too. Because its just a mine there isn’t exactly much interactivity to do, and almost every party will play their way through in the same manner. It also doesn’t make any story sense, the loss of this mine has basically caused the entire region to go into chaos, and is threatening the entire economy, but it is just a bunch of kobolds, why didn’t the city guard just go in and clear it out? Hell the mayor of the city is a level 6 range,r he could take a few of the guard and do it himself if he wanted too. This normally wouldn’t be a big deal, except that BG is actually pretty good at grounding its story line in the world, so that type of mistake betrays the premise.

(if he can kill my evil party he could certainly wipe out those mines)

This whole level kinda kills the pacing of the game for new players, who likely aren’t powerful enough to go exploring on their own yet, but just had go through one of the most boring dungeons in the game. It also introduces the Problem of Xan. Xan is an elf enchanter with a sweet moonblade who you meet in the final boss of the dungeon, and is an excellent companion to have in any party (assuming you like pessimism). Here is the problem, you likely have a full party which means you cannot take him with you to leave unless you abandon somebody else. And since this game doesn’t have the “please wait for me at this location” option then your only choice is to leave the mines, drop some people off, go all the way back down to the mines (which is again 4 layers), pick him up...and leave again. This is just...utterly unacceptable game design.

(The happiest Xan has ever been)

What is worse though is that actually makes a later level worse. At the end of Chapter 3 in the Cloakwood forest you arrive at...the Cloakwood Mines.

yes that is right, this game includes not one, but two separate mine levels, I am not even kidding. It is also 4 layers and also has a companion who you need to pick up at the end. The key difference though is that this one is a lot less terrible. It has a lot more personality to it, there are some more side quests, the villain is actually interesting and the enemies within make sense considering the location and the power level. You also fight a far greater variety of enemies here than you do prior to this point. Its basically the Nashkel Mines again but objectively better in every way. But since the Nashkel mines were really boring, its going to make this second much more interesting area...seem boring.

The moral of this story is, plan your mandatory levels carefully and makes sure they don’t over lap. No game needs 2 mine levels.

#Blast to the Past #Baldur's Gate #RPGs #Isometric RPG #Nashkel Minds #Cloakwood Mines #Cloakwood #Iron Throne #Forgotten Realms #Xan #Yeslick #Fantasy

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clarasimone · 5 years ago

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A perspective on the forewarning fascist iconography in GoT

Was it yesterday ? I reacted to a mind-provoking aesthetic analysis of GoT reblogged by @felixthemudnescat ... which basically no one reacted to (LOL) but... chatting with @scratchybeardsweetmouth and @ser-jorah-the-andal, I felt like revisiting it to add observations to my initial reaction. Even if it’s too heavy-meta for such a beautiful summer day. @felixthemudnescat pardon me for not using the reblog button cause I want to do this under the dot-dot-dot so as not to weigh down the usual degree of levity in our tumblr group ;-)

Also I only realized today that you actually reblogged without commenting and I assumed, maybe wrongly, that you adhered completely to what you reblogged. And that might not be the case, so I’ll alter my text accordingly...

So here we go... (my input comes at the end)

Anonymous asked:

Girl. Gurl. Who the fuck is Leni Riefenstahl? Y'all Sansa stans pulling the most elaborate nonsense out of your asses to justify shitty writing. Or you twist everything and make D&D sound as if they're the most brilliant minds the world has ever seen LOL

fedonciadale answered:

Hi there!

If you would have taken one moment to look up Leni Riefenstahl - and I assure you that it is not difficult to look her up - you would not have combined your question with a comment about the writing…. Look her up and learn a lesson about how tyrants manipulate.

The visuals of the show are alluding to famous/ notorious shots of Leni Riefenstahl. You would agree that the visuals are something that gives us hints? In addition to the dialogue?

Sansa stans have complained about the writing since season 5…. You all - I’m just assuming you are a Dany fan, correct me if I’m wrong - had no complaints about shitty writing in season 7?

Look I am not saying that the way D&D got to DarkDany this season was well executed, but the foreshadowing and the character development are there. And actually from all the things the show did Daenerys is one of the better from book to screen. The hiding of her path to ruthlessness by filming from her POV is well done in season 1 to 6, and the triumphant visuals are part of that.

Visuals are part of the foreshadowing. It did not come out of nowhere and it was always a major plot point - as has been argued by book readers for ages. That Dany blew up King’s Landing was always to be the culmination of her arc. And it was always meant to hit you in the gut. So, as you do nicely put it : get your head out of your ass as and realise that you have been duped. And ponder about why? Was it because Dany is beautiful? Was it because she had the occasional bouts of benevolence? Was it because you thought she was entitled to an ugly chair because she suffered? Was it because she was set up against people coded as villains, so that you don’t care about how she defeated them? Was it because she is a woman and woman can’t be evil?

Take your pick and learn something about yourself and your own bias, how we can be duped by a tyrant! If you do that you are doing exactly what GRRM intended his readers to do by writing Dany like he did.

une-nuit-pour-se-souvenir

(in fiction, all these logos meant to reference the nazi flag)

fedonciadale

Reblogging for @une-nuit-pour-se-souvenir ’s excellent additions. I could not have done that because that film is actually forbidden in Germany.

justacynicalromantic

Ohhhohohoho the last one - I am😏 at people who half a year ago threw stones at me when I argued that Dany has always had parallels with Hitler.

felixthemudnescat

Found this shared on Quora, had to re-blog!

--------------------------------------------------------------------------------------

Hi @felixthemudnescat long time no see !

I had not seen the original posting of this. My first instinctual reaction to this iconographic/aesthetics research is to object to the simple equation of Daenerys with Hitler. No fiction character will ever match the scope of evil (for lack of a better word) this man and his ideology represented. By ricochet and association, it makes every fan who was moved by Daenerys a potential Nazi sympathizer and that makes no sense. It’s also unnecessarily hurtful and insulting both to these fans and the real World (those who suffered and still suffer from The Holocaust). This said, the iconographic evidence you provided through your reblog has weight and is exactly what I referred to in some of my posts as the visual clues given in the show as to Dany’s *possible* arc, its *possible* finality (more on the *possible* further down); clues which scream at you if you have the cultural baggage to recognize them, and when you binge-watch the series 3 times in one month instead of watching it an ep at the time over 8-9 years. The middle seasons are especially ripe with these visual signs because they’re tagged unto somewhat repetitious narrative (Dany freeing/conquering one city at a time with little intimate character dev scenes). And @fedonciadale is right in wanting fans to look more closely into themselves; we shouldn’t close ours eyes on the shady ideological and moral symbols casting shadows on Daenerys throughout the seasons. But they were shadows. I don’t think they were meant to be the beginning and end to all things explaining the character.

@felixthemudnescat or @fedonciadale don’t you think D&D were building something much more subtle than the end result they opted for and which gives weight to your comparative iconographic essay ? For many seasons, the fascist references or foreboding reminders of Targaryen madness never outweighed the characterizations of Daenerys as a young woman who, regardless (or because ?) of her thwarted and abusive upbringing was trying to conjugate her own suffering and road to affirmation with the conquerer’s path given her. She might not have questioned the necessity/validity for her to conquer her way back to Westeros, as the only way she could get home, but she didn’t do it through simple rampage either. She did care to free the people she needed to build her armies. She did have a heart. This she did spontaneously; it came from a deep source within her, not a calculated one. Even if, of course, it turned out to be an astute strategy. And that sets her apart from the Nazis and its leader. At their best, D&D conjugated the two: giving us a rounded character build-up and evolution with ominous symbolic shadows lurking about her. @scratchybeardsweetmouth also made me realize, I who have not read the novels, that this humane aspect of Daenerys is brought even more to the foreground in the books. I quote @scratchybeardsweetmouth: “In the books (...) she repeatedly communicates firsthand with her freed people. She hears their opinions, is not afraid to mingle with them, always finds a way to protect them, even went out of her way to help heal some when a disease was about...” Without getting as much detailed info on her compassionate stance and actions in the show, it’s certainly the impression she indeed left us with, and it’s what her most faithful and steadfast companion, ser Jorah, sees in her and repeatedly says out loud, lest we forget it ;-) (“You have a gentle heart,” etc.)

So I thought it was IMMENSELY daring of D&D (or the novelist I’ve not read yet) to give us that scene where Daenerys is called Mhysa/Mother by the slaves she freed because the scene was inhabited with so many conflictual signs: I was all at once moved and sooooo worried as to where this could lead. Moved because, bottom line, these slaves are freed, actually freed, it’s the start of something. Dany has always given those she freed a choice to leave if they so wished… Moved because it’s a woman effecting the freeing, not a man… Moved because it’s Dany, the girl who suffered, who was a slave of sorts, that does the freeing, not her mentors…. Moved to see a culture refer to their freer as “Mother” (what a great homage to mothers, to women in general) / buuuuut also worried to see a culture refer to their freer as “Mother” because it seems to infantilize them on screen.

Here we could also open up a whole debate about the malaise one can feel in seeing an Aristocratic White Woman free Third World People but I urge you to go read @khaleesirin‘s meta writings on the subject. She makes a great case for us NOT to see Daenerys in this fashion. Regardless of her looks and lineage, the novels (and GoT, I insist in my chats with @khaleesirin ;-) shows her to be like the people she frees: an Other. She like then is homeless, uprooted, migrant, disenfranchised. If we fail to see it in Essos, the show really drives this home once Daenerys sets foot in Westeros where NO ONE welcomes, understands or appreciates her. (Which suddenly complexifies our rapport to Sansa and the Northerners we grew to love and respect since they seem not to be above xenophobia, and racism.)

But to get back to the Mhysa scene. Once the worrying starts, I can’t seem to stop it, even as I am moved to tears. Literally. Because of the above-mentioned qualities of it, and also possibly because of the Christ-like iconography it uses to celebrate Dany (”Let the little children come unto me” - if I may paraphrase the New Testament -- and thanks to @ser-jorah-the-andal for the reminder). And I’m always partial to feminizations of Christ; I love it, I think it’s sublimely subversive :-) But I’m also kicking myself for liking this because I fundamentally don’t want a Messiah saving the Third World, I want the Third World to save itself... and I’m worried. I’m really worried as I watch Daenerys triumph in this scene because we know she’s lacking important elements in her “psycho-affective and socio-political tool kit” (regardless of the quality and loving care of advisers now on hand, *cough* Jorah -- in the books @scratchybeardsweetmouth tells me she needs no advisor to keep her moral compass straight) and, so, will this get to her head ? Will she get drunk on her Messiah complex (and of course she does at the end of season 8) ? And what will happen if those she freed disappoint her (again flashforward to the end of season 8) ? And how will she rule them exactly (ditto) ? And, finally, yes, worried because, the fascist iconography is there and I’m going: omg where are they going with this ?

Here I want to open another parenthesis, also brought on by something @ser-jorah-the-andal wrote me: “if this is what they meant in the first place, they sure as hell didn’t bother to tell anyone in the cast so they could act accordingly, tho a case could be made that Dany never saw herself as the villain so that’s why they didn’t tell Emilia.” Indeed I’m sure the cast, or at the very least Emilia Clarke, were never told about the endgame, or never cued to the quoting of fascist iconography in some of Daenerys’ triumphant scenes. Clarke’s shocked reaction upon reading the last screenplays is a testament to her profound surprise... and this raises ethical questions, doesn’t it ? I mean in the ethics of creative partnership. It’s a recent debate possibly because there are so many tales of directors manipulating actors into giving them the performance needed to embody and communicate the discourse they want to leave us with. But the professional in me cringes here a bit. You’d hope they would trust actors enough to let them into what it is exactly they’re supposed to be creating...

This said, up to the moment before “the bells” scene in season 8, I had nonetheless seen D+D and EC give us a woman struggling morally with her choices. That’s important to state. And to get back to the above demonstration of fascist parallels, well, please, let’s point out that the Nazis and their leader never did struggle morally with what they were doing (or if they did, History bears no markers -- I’m talking about the Nazis here, not the German people as a whole). And I was prepared to see Daenerys fail because she never healed, she never achieved psycho-affective soundness (shall we get into the chapter of her misconstruing what love is ? Her relationship arc with Jorah speaks volumes) but I was expecting her to feel remorse if she did succumb to true fascism; remorse to the point of self-execution if you will, because that’s the kind of moral person D+D had been building for 7 years. But after D&D sent her over the edge, they erased all the previous nuances they had built into her, and I believe, tried to explained it away with a broken heart, megalomania and madness….

So if their plan was truly to make us see her as a fascist leader of the scope we’re talking about here, the way the above visual essay seems to suggest, they would have fleshed out her character’s arc accordingly throughout the seasons, and they didn’t. There were clues as to the possibilities -- yes, Dany stepping out for her final speech is absolutely shot like Triumph of the Will by Riefenstahl… but it’s also infused with other iconographic references. That image of her merging with Drogon’s wings belongs to the fantastic, and makes her into a formidable and powerful Id, which can be construed as a positive subversive marker. And some of us do celebrate WrathfulDany for this reason....

The reality of GoT is that there were no actual scenes developing her fascist ideology. So let’s not confuse allusions to fascism with actual fascism. With all D+D’s failings towards the end, Daenerys remained a more nuanced and contradictory character than that. She is NOT Hitler, please......

The iconographic research you provided in your reblog @felixthemudnescat show us one important aspect of Dany’s subtextual arc but not the full picture. It’s missing the heart and the suffering behind the soul who fell from grace.

I hope you don’t construe this long winding reaction as a slam. I know you come from a very specific place in regards to Daenerys. I just thought the excellent research you provided deserved to be reblogged, but with an added perspective ;-)

#got meta #got analysis #daenerys targaryen #Ser Jorah Mormont #fascism

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themeatlife · 5 years ago

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the Meat Life Stay-At-Home Watchlist

Chronicling what I have watched or rewatched through the pandemic so far

The world has changed around us the last few months, particularly in the United States since March 11. With the lack of events to hit up, like most Americans I’ve been catching up on some watching through the various streaming services and my own digital copies of movies and shows.

I didn’t really think of keeping up with what I have been watching until just recently, but here is what I can remember hitting up so far since I’ve spent the majority of the time at home. Some are favorites that I would have watched anyway. Some were unfinished until I got a chance to get back to them. And others just became available.

Here’s what I remember of the watchlist:

The Office (Netfilx) This is a favorite of me and the wife. We watch this on the regular though. My wife uses The Office as her lullaby of sorts, putting it on in the evening as she gets ready for bed and is in bed to fall asleep. I did a post on the 15th anniversary, so I won’t really deep-dive.

Gossip Girl (Netflix) Another one that my wife rotates with The Office as her lullaby. The series is not bad, it’s basically The OC in Manhattan (both are created and developed by Josh Schwartz). It also takes on a new perspective when you think about star Penn Badgley is the creep in You. So Dan Humphrey gets this weird creeper Joe Goldberg vibe at times.

Parks and Recreation (Netflix) I never got into Parks and Rec on its original run. I was encouraged to check it out by some coworkers since I liked The Office. It is a great show, very funny, and poignant in a way. It feels like a throwback to when people could disagree politically and still get along. There is a lot less of that nowadays. We might need more Parks and Rec in real life. I started this right before the pandemic and finished around the beginning of things getting locked down.

Frozen II (Disney+) The sequel debuted on Disney+ early on in the quarantine period. My family enjoyed it. I thought it was entertaining, but I felt like it was weighted down a bit by the mythology explaining. It seemed too busy explaining a lot of things. Still an enjoyable movie, but the first is better.

Tiger King: Murder, Mayhem, and Madness (Netflix) Intriguing. The series debuted early in the quarantine period and became a staple of stay-at-home viewing and a runaway hit. Lots of WTF moments. It was like the train wreck analogy to the Nth degree. But you can tell it was made in a way that leans in favor of Joe Exotic, making him look like a victim in the last couple episodes. Also gave way to memorable memes ever since.

The Rocketeer (Disney+) I haven’t watched this movie since I was a kid. Looking back, you can see a lot of The Rocketeer in Captain America - The First Avenger. Easy to see though, since they share the same director Joe Johnston. Prior to America’s involvement in World War II, a movie star Nazi goes after an experimental rocket pack developed by Howard Hughes. The rocket pack is retrieved by accident from a down on luck stunt pilot. Fun movie.

Star Wars: The Rise of Skywalker (Disney+) I should have watched the entire Skywalker saga leading up to it, but I figured I have a ton of time to do that later. This was a May the 4th watch. I haven’t watched the Skywalker saga finale since it was in theaters. It’s not a bad movie, I just feel it could have been a lot better with some modifications here and there. Also, I believe this was going to be the Leia movie. The Force Awakens was Han’s swan song, as was The Last Jedi for Luke. I feel like this would have been great for Leia but obviously they were limited due to the untimely death of Carrie Fisher. The scene where Ren/Ben speaks with Han after battling Rey would have hit harder with Leia instead of Han.

Trolls: World Tour (VOD) Cute kid movie. Was nice to hear a lot of familiar music. Sucks that rock was the villain in the first couple acts. Seeing it once was enough, though. Like the first Trolls, I am glad my kids enjoyed it but did not participate in excessive multiple viewings.

Onward (Disney+) Didn’t get a chance to catch this at the theater before they closed them down. Great movie, but gosh. Why does Pixar always pull at the heart strings like that? I was quietly crying to myself at the end. I’m glad we made our living room dark theater-style, otherwise my kids would have seen me all torn up.

Fast and Furious 5-7 (Fast Five - HBO, The Fast and the Furious 6/Furious 7 - Digital) I ended up not watching the entire series. There is a great trilogy within the series, 5-7 was that trilogy. Fast Five was the best of the FF franchise and where it perfected their movie formula. It was like an action Ocean’s Eleven with cars. 6 and 7 expanded on that formula, upping the humor and ridiculousness factor. 6 had the exits of the Han and Gisele characters (they found a way to tie in Tokyo Drift to the rest of the series, Gal Gadot was on her way to becoming Wonder Woman for DC). And 7 had that great ending with the tribute to Paul Walker to the sounds of Wiz Khalifa and Charlie Puth.

Toy Story 4 (Disney+) Another Pixar hit. Didn’t hit me quite as hard as Onward or Toy Story 3 did emotionally, thank goodness. I thought this story was over the way Toy Story 3 ended. But Pixar did a good job adapting to prolong these characters stories. It did feel like it was a bit of two and three combined looking back. Still very good, Pixar knows what it’s doing.

The Marvel Infinity Saga (Disney+/Netflix/Digital) Leading up to the one-year anniversary of the release of Avengers: Endgame, I went through and rewatched all 23 MCU movies. This time, I went in chronological story order by starting with Captain America - The First Avenger. I chronicled the order I watched in my last post. Even after viewing many of these movies multiple times, I’m still amazed at how much I enjoy them and the scope of what Marvel was able to achieve leading into the climax in Endgame.

Community (Netflix/Hulu) I loved Community on its initial run on NBC but never watched any of the episodes when it was on Yahoo for its sixth season. It has been great to rewatch the meta-humor and sitcom trope parodies. And since Ken Jeong and Joel McHale started their own podcast called The Darkest Timeline (half COVID-19, half Community pod), it has been a good companion viewing.

The Back to the Future Trilogy (Netflix) Recent add to Netflix for easy viewing, these movies have been a favorite of the Mitra boys since childhood. Upon viewing as an adult, there is some humor that I didn’t recognize as a kid that is hilarious to me now. It is also crazy how well this teen time-travel sci-fi comedy works. Some of the effects in Part 2 are dated and 2015 didn’t quite end up the way it did in the movies. But overall very enjoyable on the rewatch!

Extraction (Netflix) High budget action flick funded by Netflix? Written by the Russo Brothers? And staring Chris Hemsworth? I’m in! Directed by long-time stunt man and Russo Bros go-to stunt coordinator Sam Hargrave (you can tell the Russo influence). It has an awesome 15ish minute one-shot action/chase sequence that is top notch. Don’t think much about the plot or the controversy of cultural representation, just enjoy the action.

The Mighty Ducks Trilogy (HBO) Another childhood favorite of mine. Nevermind that the hockey itself isn’t accurate. This is about pure fun for an hour and a half at a time. Come for the hi-jinx, stay for the heart. Triple-deke, knuckle-puck, taking out the trash. And leave it out on the ice!

The Harry Potter Series (Blu-Ray/Digital) This was not a go-to for me until Linda made me watch the entire series. I guess when the first movie came out, it was too much of a kid movie for me (I was a high school senior at the time). But from the second movie onward, it felt like the storytelling and movie making got better and better. The Deathly Hallows was an epic ending, even if they did change the ending from the book. I didn’t watch the newer Fantastic Beasts movies along with this though, my wife did.

Westworld - Season 3 (HBO) Recently got HBO back, so I caught up on Westworld Season 3. I haven’t rewatched the previous seasons yet, but I may revisit it soon. Season 1 was spectacular, Season 2 was confusing as hell but still entertaining. Season 3 is somewhere in between, expanding on the ongoing storyline. It was more straight-forward because its storyline is in the “real-world.” For those of you that have watched, didn’t you think it was highly ironic that the Incite ball was basically the AT&T logo? (AT&T is the parent company for WarnerMedia and HBO)

The Last Dance (ESPN/ESPN+) The Michael Jordan docu-series has been a god-sent for sports fans devoid of live American sports for the past couple months. Is it Jordan-biased? Sure. But it is full of drama and intrigue and full of nostalgia. The NBA had commissioned a camera crew to follow the 1997-1998 Chicago Bulls on their run for their sixth NBA championship. Jordan owned the controlling rights to the footage and unlocked it after the 2016 NBA Finals. So this documentary was years in the making and with the pandemic the release date was moved up. Although it featured a lot of unseen footage, it also chronicled the years leading up to the 1998 Bulls title. The last 5 Sundays have been awesome.

The Princess Bride (Disney+) I haven’t watched this movie since I was a kid. It wasn’t one of my recurring watches back then. So this was actually my second viewing of this movie ever. I found it quite enjoyable. It was cheesy, but fun, and a good family watch. One of the many older titles available on Disney+.

Scoob (VOD) My kids had some of the older Scooby Doo episodes on DVD and watched them when they were younger. This was a fun revisit for them and for us as parents. It was actually cool seeing a lot of the Hanna-Barbera characters in one movie. We watched this shortly after finishing Community, and my kids recognized Ken Jeong’s voice as Dynomutt. My daughter hilariously shouted “Senor Chang!” when she recognized him.

The Indiana Jones Series (Netflix) I introduced my son to Indiana Jones a few months ago watching Raiders of the Lost Ark. He loved it. He lost a little bit of interest during the Temple of Doom, I think the character Short Round lost it for him (character hasn’t aged well). The Last Crusade reclaimed his interest. Harrison Ford was at his natural apex playing Indiana Jones. I did not watch the Kingdom of the Crystal Skull. I didn’t feel the need to revisit that installment, while it was enjoyable the alien ending ruined the lead up to it.

The Dark Knight Trilogy (Batman Begins/The Dark Knight - Hulu, The Dark Knight Rises - Digital) Every few years I try to revisit this series. It is the best thing DC has ever put out cinematically. While Begins and Rises is more comic book, TDK is a straight crime drama set in the world of Batman. My favorite is Rises, but the absolute best comic book movie remains The Dark Knight, even with the advent of the Marvel Cinematic Universe.

Jurassic Park/Jurassic World Series (Jurassic Park/The Lost World: Jurassic Park - Blu-Ray, Jurassic World - Digital, Jurassic World: Fallen Kingdom - Cinemax) The original Jurassic Park is such a great movie. Rewatching, it’s crazy how well the effects for the dinosaurs hold up. Steven Spielberg, Stan Winston, and ILM did a great job mixing animatronic and CGI dino effects that stand the test of time. The Lost World was enjoyable but not as good as the original. I skipped JP III, such a bad movie. Jurassic World was a good way to reboot the series, basically a remake of the original but incorporating a lot of references to it. I just finished Fallen Kingdom today. Although Fallen Kingdom was entertaining, it fails to recapture some of the magic of JP and JW.

I’m not sure what I will hit up next. I might hit some Keanu Reeves movies like Speed, the Matrix Trilogy, and/or the John Wick Trilogy. Maybe Top Gun. Maybe rewatch Friends or How I Met Your Mother. Maybe something on HBO Max when it comes out like The Fresh Prince of Bel-Air. Maybe Terminator. Possibilities are endless, at least until some American sports return.

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doortotomorrow · 5 years ago

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I was tagged by @blodreina-noumou to answer some questions about my favourite TV shows, so I’ll list my favourite shows and take it from there!

Doctor Who The 100 12 Monkeys Smallville The Musketeers

Who is your favorite character in 2?

I mean...there’s no real contest here for who my favourite character is from The 100. Everybody here knows my brand! Emori kom Spacekru, of course!

Who is your least favorite character in 1?

Oooooh...least favourite Doctor Who character...that’s a challenge since the series has a whole host of memorable, lovable characters, but if I had to choose...I’d say Simm’s Master. His type of villainy and character is best enjoyed in small doses because characters who’re constantly going over the top are grating on the nerves for me.

What is your favorite episode of 4?

Smallville ran for so long, it’s hard to choose just one, but if you were to twist my arm around...I’d probably go for Homecoming. It’s got a little bit of everything in it and it’s one of the best written episodes of the whole series. Poignant stuff!

What is your favorite season of 5?

The first season of The Musketeers is the series’ strongest season in my eyes(thanks to the stellar performance of Peter Capaldi as Cardinal Richelieu). The cinematography is wonderfully staged, the fight scenes are bracing, the characters are all well serviced throughout the episodes, getting amazing moments to shine, the music is well scored, providing the perfect panache...just all out amazing stuff!

Who is your favorite couple in 3?

It’s been a good long time since the main characters of a show have been my favourite couple, but 12 Monkeys did it right with Cassie and James. They work well off of each other, are both strongly written characters so they’re on equal footing, and well...are really pretty to look at!

Who is your favorite couple in 2?

Look at how beautiful they are...they should have sent a poet! John Murphy and Emori kom Spacekru are THE romance from The 100. They’ve had the most romantic scenes in the show and have constantly surprised us at every turn. I adore them!

What is your favorite episode of 1?

My favourite episodes(a three part story spanning three episodes) of Doctor Who are the last three episodes of Clara Oswald’s time in the TARDIS. Face the Raven, Heaven Sent, and Hell Bent. These episodes are a tour de force of high stakes emotion, beautiful performances, epic music, all culminating in one of the saddest goodbyes the Doctor’s ever had with one of his companions. Clara’s last story’s beautifully cathartic.

What is your favorite episode of 5?

Through a Glass Darkly, hands down, is the best episode of The Musketeers. Every element of that episode is so tight and crisp. The one off villain for the episode’s enthralling, the romance is at its height, the acting’s on point, and the scenery’s dessert for the eyes.

What is your favorite season of 2?

Yes, the season was weighed down by a lot of controversy, but my favourite season of The 100 is the third season. ALIE’s my favourite villain of the story(I’m a huge Terminator fan and she was giving me major Skynet vibes, so I dug into it), it fully introduced Emori while also beginning Memori’s epic love story, getting to see people acting possessed is always a fun fright, and we got into the history of how the world got blown up in the first place. So overall, the third’s my favourite.

How long have you watched 1?

I’ve been watching Doctor Who ever since 2011 and I haven’t looked back since. It’s the holy grail in terms of sci-fi. The Doctor can look like anyone and sound like anyone, the companion can look and sound like anyone, and come from any place in time and space...and the coolest thing of all? Thanks to the TARDIS being able to travel anywhere in space and time, a Doctor Who story can be about ANYTHING! There’s no limits to Doctor Who, and so, therefore, it can go on forever!

How did you become interested in 3?

I became interested in 12 Monkeys when a friend of mine(she knows who she is! 😉), brought it up while discussing one of the actors who worked on the show. When I saw that it was about time travel, I dived right the fuck in since time travel’s one of my favourite sci-fi story engines, and I blazed right through it in under a week. I highly recommend watching it!

Who is your favorite actor in 4?

Erica Durance is without a doubt the strongest actor from Smallville. I couldn’t have asked for a better Lois Lane. Whenever I picture Lois in my head, it’s her face I envision!

Which do you prefer, 1, 2, or 5?

Doctor Who. It’s pure, unfiltered comfort. No matter how terrifying and no matter how sad it gets, the series will more often than not end the episode off on hopeful note.

Which show have you seen more episodes of, 1 or 3 ?

I’ve definitely seen more episodes of Doctor Who than 12 Monkeys considering how 12 Monkeys’ run is massively short compared to that of Doctor Who’s!

If you could be anyone from 4, who would you be?

She’s a badass journalist who gets results while also getting her beautiful self worshiped by Clark Kent every night. Better believe I wanna be Lois!

Would a crossover between 3 and 4 work?

Smallville and 12 Monkeys? Better believe it could, what with Clark having access to the Legion Ring. It would be really great to see Clark helping James Cole repair the broken timeline!

Pair two characters in 1 who would make an unlikely but strangely okay couple.

They didn’t meet, but I went through a period of time where I got really into shipping Rose and Clara together. The notion of the two companions I had the biggest crush on becoming a couple and such was too tantalizing to pass up!

Overall, which show has the better storyline, 3 or 5?

Why must you do this to me?! 12 Monkeys and The Musketeers were consistently written across the board, but if you had to grab me by the scruff, I’d say 12 Monkeys since time travel’s a bitch to nail down properly and they pulled it off!

Which has the better theme music, 2 or 4?

Let’s make this one a tie. They’re both so different from each other considering one’s about the origin story of Superman and the other’s about humanity’s desperate survival, conveying separate themes and emotions entirely. I love both!

#words from doory #this felt like an interview #thanks for sending this in!

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