#i mean there's been some good moments

[vulptilla]

Sigh. As much as I enjoy the gameplay, I don't think DATV will have much replay value for me. I've spent hundreds of hours on each previous DA game, but aside from toying around with the character creator, what else is there to experience about this one? Rook's personality is fixed, so aside from personal headcanons, there’s not much to explore, and the roleplaying options are so limited that story-wise I don’t feel like I’m missing out on anything.

It frustrates me to no end because this game could be so good, and then it just... isn't.

[demaparbat-hp]

Want to know what I believe? It's right here

Dig a little deeper and it's crystal clear

.

(WIP)

[beatcroc]

there's no way the bathroom at peppino's pizza is actually that big but ¯\_(ツ)_/¯ . hey ummm anyway.... i care them...... anyway there's a lil ramble on my take on fake pep's like psyche or whatever in tags on the og post if ur into that kinda thing :y

hey! it's a series! fake peppino world tour: [noise] [noisette] [peppino]<- u are here [gustavo] [gerome] [noisette again]

[trashmallcw]

so i finally got my brother to start playing outer wilds (and stream it to me)

[royalarchivist]

Tazercraft and Richarlyson: [ Talking about the butterfly effect that led to Cellbit and Roier getting married ]

Richarlyson: The real cupid is pa Mike.

Pac: If Mike was unintentionally the reason why Richas died*, and that caused Roier and Cellbit to— Wait, you're saying I'm single because you died?! Oh what the hell. No, it's fine, that's fine, that's fine, it's fine, I stayed on the ground so that others could fly, it's fine.

Richarlyson: KKKKKKK Pa, you misunderstood me 0_0

[hirazuki]

Me, episode 1: Oh, a relatable protag! And a relatable female protag, at that. Sweet! That never happens.

Me, a few episodes in: Wait, the protag really is going to be my character? The one I identify with the most? Seriously? It's not going to be a strange, at least somewhat sinister, seemingly hostile male side character? It's gonna be a female character and the protagonist? That's insane, that literally never happens... what's the catch??

Me, more than halfway through the season: ... huh, I guess Maomao really is it. Okay, then ¯\_(ツ)_/¯

Me to myself, after episodes 22/23:

[iwritenarrativesandstuff]

Teruko and Yosano should've faced off. I think Yosano should've been posed that question that Atsushi was; that reveal of the "future war" - Teruko went along with Fukuchi out of a mix of indebtedness and being at a loss for what to do. War is all she's known; of course she doesn't know. But Yosano has been to the depths of despair and come back out of it again. She might've faltered at this horrific reminder of her trauma, but when it comes down to it, she saves the lives before her. She fought for a way back to light and life. I just think there could've been a really interesting conflict there. And it would've made Teruko's role much more tragic if she wanted desperately for there to be a third option but just didn't have enough time to sit with it and process what that third option might be before Fyodor made it all go to hell.

Also a fight between them would've been interesting, because Teruko is much physically stronger than Yosano, but Yosano can heal from any physical injury inflicted. However, since we now know Teruko can alter mental age, she could inflict psychological wounds by de-aging her, which would've been a good callback to the horrors of war in her backstory, and also been a nice bit of foreshadowing for Teruko actually being a child.

Teruko eventually allowing Yosano to leave out that door after seeing her resolve would've been a deeply bittersweet and powerful moment, I think, especially in hindsight after her backstory reveal.

[thepromisedbride]

i don’t talk about bridgerton on here but just to clarify. i will not be having ANY eloise hate on this account. i will bite.

[lavenderspriggs]

I think the thing I miss the most from season 1 is the ensemble. by the end of s1 all of the crew fit into their roles so perfectly and everyone was having fun as an ensemble but s2 hasn’t really carried through the same energy. we left the swede behind at spanish jackie’s. buttons turned into a seagull (good for him, but I miss him). oluwande nearly left to join zheng’s crew. even when the ensemble isn’t being broken up they barely have any screen time to have group shenanigans! the crew really shines when they can play off each other in different combinations and in different scenarios. ep5 was the closest we’ve had to the s1 ensemble vibes with seeing everyone reacting to the curse. I want more of that, I just really miss my guys interacting 😔

[kashilascorner]

Okay!! Done with The Count of Monte Cristo. That was a ride. I did not enjoy the ending in itself much. The final chapter felt a bit disjointed and while I can understand Edmond was trying to teach Morrel and Valentine a lesson that's more important than any treasure, I think keeping them apart was unnecessarily convoluted and, frankly, cruel, especially keeping Valentine in the dark about her family's demise.

That being said, compared to the 2024 movie, which was my gateway into the book (spoilers for the movie ahead):

I still think it was very well adapted and I generally enjoy the changes made.

In particular, Benedetto/Cavalcanti's storyline in the movie works wonderfully and his relationship to both Eugénie and Haydée was cute. I do prefer this Cavalcanti over book!Cavalcanti because he feels more rounded. However, the movie cannot top Villefort's demise in the book. It's extremely good and heart wrenching.

The movie utilizes Albert and Haydée in the end in a vaguely similar way to Morrels and Valentine in the book, which was appreciated. They close the circle their literal or adoptive parents started and Edmond sails off on his own and I think there's a lot of beauty in that too.

I disagree that the changes made to Haydée's character in the movie reinforce the orientalism. The movie did not even try suppressing (or addressing) the orientalism, I do agree with that, and believe things could have been handled better. But Haydée's seduction game is entirely premeditated. She's not alluring as a walking oriental femme fatale, she is rather explicitly made to look that way. She and the count play with that as part of the trap they are laying for Albert. This mirrors Cavalcanti's trap too. It is similar to the way "Sinbad the Sailor" metaphorically seduces Franz d'Épinay in the book when they first met. I'm not saying it was perfect though. I'd say the orientalism in regards to Haydee has more to do with casting choices, costumes and treatment of her background than with the narrative use made of her in the movie. Sorry, but revenge-seeking willing to seduce her way to her goals movie!Haydée that still has a filialish role to the Count is definitely more appealing to me than submissive (literally a slave), love-sick book!Haydée who most of the time only waits and pines. She does testify against Fernando on her own accord and free will and shows an absolutely amazing strength and I love book!Haydée for that but it's not often that she gets to shine like she deserves.

Making Edmond and Fernando childhood friends is actually good, I loved that! But making the Mondegos an already affluent and well positioned family by the beginning and making Mercedes/Edmond lowkey forbidden because of class difference was not so good. One of the most interesting things in the book is getting to see just how much their status improves -with Edmond being the price to pay.

The movie does go much easier on Mercedes, WHICH SHE DESERVES. The aspect of her being "unfaithful" is moderately prominent in Edmond's discourse in the book, even if Edmond tells her to her face she's a saint. Given her ending, I think the book narratively does punish her for that so-called infidelity which I personally believe to be absolutely unfair but. 19th century right.

Other book things I prefer over the movie: Fernando's ending. The final battle was super fun to watch but sorry. Fernando offing himself because his family left him adds a whole other layer of tragedy and gives him a sort of redeeming quality (even if in the book they don't really put it this way). In the movie he has no redeeming quality lol

Also. I get why Noirtier was not much there. Same happens with the Morrels and Valentine. But Noirtier is one of the characters from the book that fascinate me the most so I'll miss him

[stephaniebrownthespoiler]

the bruce-steph dynamic is actually really interesting it's a crime that dc wasted Steph's robin run so bad

[dangaer]

ships where muse a is outwardly insane and while muse b is much more calm than them, is equally or in their own way insane inside ( especially if its towards their dynamic with muse a. ) are truly beautiful though.

[al-luviec]

still haven't moved on from zane in this episode (aka I hit tag limit again and am unhappy about it)

[palukoo]

I know I’ve made other posts talking about or alluding to this but like. obviously there are like the old hollywood movies in the sort of dyke subtext canon (all about eve, rebecca, johnny guitar, etc) but like. there are so many movies that like 10 people have seen but I have such a clear gay vision or interpretation for it. most of them aren’t even GOOD. and yet!!

like the great lie is the one that haunts me the most (or the women but I think that one is kind of different for me perhaps bc I’ve already talked about it here a lot or perhaps bc I think of it as being more well known and watched than I think it actually is? actually it’s probably that I think it is an overall good and well executed and entertaining movie which isn’t really true of most of these tbh). but I also think a lot about like when ladies meet, or old acquaintance, or sadie mckee, or the shining hour, or the model and the marriage broker, or a woman’s secret, or the bigamist, or craig’s wife, or born to be bad, or separate tables, or even dark victory to a degree. others too certainly those are just the ones that come to mind. for half of these it’s not even like oh these women are gay together it’s just like hey I think she’s a lesbian. and I’m right. but my genius will never be fully appreciated in my day unfortunately.

[vaguely-concerned]

trying to look for a ttrpg group in spaces where I can't just go 'listen I want to play this shit in the tumblr fandom kind of model (gay subtext extremely welcome bordering on essential, mutual unhinged character psychoanalysis, we could create a novel of a backstory together to make this sadder, let's all play with our OC dolls together and also sometimes dice are rolled I guess)' and be readily understood and/or not be immediately side-eyed or denigrated for my inherent unavoidable tumblerinaness feels like such an annoying debuff to deal with on the quest. like I know my people exist out there but how do I express myself in the right way and wade through all the copious not-it (not for me) dynamics to find them!!!

[thebuttsmcgee]

Man. I just get so actually legitimately sad each time I remember that toh ended and that we live in the post-toh world. Like it really is over.

Ms Dana Terrace has said that she'd like to do more given the chance (and after some quality time off of bigger projects, just to chill), but as far as we know, it's the end.

Heck, we barely got anything after the final episode, no books, no special merch, no dedicated little chibi shorts, nothing really, aside from the, thankfully fun, get-togethers of the cast and crew!

Idk. Ah well actually nah, I do know, that this show just meant an enormous lot to me. Incredibly huge, the kind that you can't break away from and wouldn't want to anyway. The kind that feels like, man, where would I be without it.

Happy 1 Year, to the end of The Owl House. Thank you, The Owl House.

I hope the future is bright, for all of us.