#i needed to have this talk accessible in meta form somewhere

[veganthranduil]

(This is a slightly re-worked version of my 2021 Terror Camp talk on the subject. You can request access to past recordings via the TC email.)

In a show full of unapologetic imperialists, Harry Goodsir, beautiful cinnamon roll (too good for this world, too pure), is often exempted from the scrutiny that other characters are subjected to, based on his ‘innocent’ nature and his good intentions. I argue that precisely these characteristics that are most formative for his imperialism, but that his imperialism is not legible to us because it is the same form of imperialism we* still practise today. As the character who seems most modern to us because he is, in many ways, quite liberal, he serves as a prime audience surrogate to excuse, and to question our excuses of this imperialism.

We may think of empire as an unapologetic entity, too large to deny its own existence. The fact of its violence is all-encompassing. In the eyes of those who suffer from under it, the empire cannot be ignored—but there are also those who depend on its invisibility for the functioning of their world. This is a story about how the empire hides itself from itself, through the story it tells about itself.

The origins of empires fall together with the historical emergence of liberalism in the 18th century. Mehta (1999, p. 194) writes on this co-emergence:

“It is tempting to see the triumph of liberalism and the concurrent extension of the empire as either discontinuous facts that do not relate to each other or as plainly contradicting each other, and therefore casting doubt on the authenticity of the former. The thesis of discontinuity misunderstands the role of liberalism generally, and especially in this period. From its very inception in the seventeenth century, liberalism had been much more than a mere political doctrine with a local reach. By the early nineteenth century and with added vigor through the course of it, it was a robust mindset with a confidence in its global vision. This liberalism did not mysteriously get transformed into some demonic urge to rule the world the instant the British ventured beyond their shores. [...] liberalism and empire were tightly braided threads such that their separation would have resulted in the fraying of a well-woven mental and political tapestry.”

At the same time, liberalism, in its elaborations as a theory, is at odds with many aspects of empire. Liberalism, on the one hand, relies on the resources and globalisation provided through colonisation. On the other hand, the liberal tradition purports that its values—individual self-determination, basic rights, democracy, or tolerance—hold the world over. These liberal values extend rights that the empire violates and denies. This is not to say that liberalism has not also served as the argument in struggles of liberation and for rights. The language of liberalism can be used to challenge liberalism and demand inclusion, just as the language of liberalism can be used to dismantle it. Suffragists successfully did the former. The globally resurgent radical right is succeeding in a strategy of normalisation that is achieving the latter. What I am saying is that within liberalism, which is caught between needing the empire for its political survival and being at odds with the fact of empire in its moral system, there is a particular rhetorical trick that hides the empire from liberal eyes. Even today, we western liberal subjects deflect when it comes to the existence of this connection.

I use Jeanne Morefield’s concept of “imperial deflections” (Morefield, 2014). She defines an imperial deflection as “drawing critical attention away from the liberal empire’s illiberalism by insisting upon its fundamental character.” It’s a bit like a magic trick: showing you the card by acknowledging the empire’s illiberal acts, and then drawing the attention away from it. Morefield examines British liberal thinkers around WWI and US liberal thinkers post 9/11 to show how the liberal justifications of empire are surprisingly similar in both instances. In both pre-WWI Britain and post 9/11 America, liberals insist it is impossible for them to act illiberally—because they have always been liberal, because they are at heart liberal, or because the long arc of history bends towards a liberal society in both cases. It is these deflections we can see Goodsir employ in the show, at different times, and with different degrees of success.

Goodsir as an Audience Surrogate

At numerous junctures in the show, we are encouraged to view the world we are presented with through Goodsir’s eyes. He, like the viewer, has never been to the Arctic, and approaches it with a sense of wonder. The audience is encouraged to empathise with him through small moments that endear him to us (such as when he insists that he, too, can haul the boat-sledge in 1x02 and promptly falls over, inexperienced at hauling as he is.) In episode 1x02 Goodsir as a viewpoint character also becomes explicit when we hear his testimony after what happened to Lieutenant Gore. Although all members of the sledge party are interviewed offscreen, it is his point of view that we hear and believe, and that helps us makes sense of what we just saw happen. The fact that the captains interviewing him are sceptical of his account just solidifies putting the audience in his corner.

What most solidifies Goodsir as an audience surrogate, however, is his ideology and therefore his position in the show as a “modern” character. My argument is that it’s precisely Goodsir’s liberalism that allows us to identify with him.

Goodsir as a Liberal Subject

Goodsir’s role as a scientist (an anatomist first, and then also a doctor) position him closest to Post-Enlightenment liberal ideas about scientific progress, rationality, and also a new form of masculinity. Goodsir is a decidedly “modern” character, especially when contrasted with other characters: Goodsir is less set in his ways than most of them. While describing the bear prints, for example, the captains are dismissive of his description while Goodsir is sceptical but not dismissive of the idea that the bear could have tracked them to the ship. (He is, of course, very set in other ways, for example in his total embrace of class hierarchies.) He is also positioned in contrast to Stanley’s overt racism when Stanley refuses to perform surgery on Silna’s father.**

Goodsir’s approach to life is informed by his belief in science. We are given little hints throughout the show that approaching things from a detached, scientific angle gives him comfort. When David Young dies, Goodsir is distressed, but the first thing he does is check Young’s pulse. Similarly, he can perform Young’s autopsy only after covering his face, reducing him from “person” to “body.” His account of Gore’s killing, likewise, is focussed on the observable details and reads more like a scientific report than a report from a man who witnessed a traumatic event.

This rationality and distance from emotion is also indicative of an alternative masculinity. The show contrasts Goodsir’s liberal masculinity with the more familiar “male warrior” masculinity of the sailors that surround him. In episode 1x03, Goodsir’s demand of an escort back to the ships is played for a laugh, though immediately undercut when the Tuunbaq does attack the hunting blind, leaving him the character with the more realistic risk assessment. Goodsir embodies an alternative hegemonic masculinity: a liberal masculinity that expresses itself not in outbursts of aggression but in a distancing from emotion. When Goodsir seeks to test his lead poisoning theory, for example, he entices Jacko with gentle words to eat from the food he suspects to be poisonous. He is aware that—should his theory be correct—he is killing the monkey. We are reminded of his gentle words to David Young and realise, perhaps, that his gentleness is not backed up with a deep concern for the person/animal he speaks to. In both cases, the knowledge that can be extracted from dead bodies supersedes sentimentality. Neither masculinity, one might extrapolate from that, offers a way out of the predicament these men find themselves in. Neither can serve as the basis of a new kind of living with each other.

Goodsir’s Liberal Deflections of Empire

Goodsir’s character is an interesting case of nominative determinism. There obviously was a historical Harry Goodsir, but this is not the man we are looking at. We are looking at the fictional “good sir” who was, at first glance, written as the only good man among imperialists. At second glance, however, his name itself becomes an imperial deflection. While other characters make their investment in empire clear from the beginning, Goodsir’s is perhaps harder to spot. Sir John has already failed at one imperial endeavour and is adamant to prove himself. Fitzjames’s stories illustrate that he has no qualms with the mission of empire. But at various points in the show, Goodsir is seen to express discomfort with the logic of action that imperialism dictates. He wants to save Silna’s father (even though he ends up making things worse for him and the crew in the long run.) He expresses discomfort at the treatment of the body of Silna’s father, while he himself tries to be respectful of Inuit customs (though, once again, making things worse by burying his charms with him.) When Francis wants to ask Silna how to kill the Tuunbaq, Goodsir does not translate the question, perhaps out of a sense that “these matters are quite private in her culture.” It is because of this discomfort that Goodsir becomes the prime apologist of empire. The other characters do not feel like they have anything to be sorry for, and therefore do not need to invent justifications. Goodsir employs these justifications at various moments in the show, but two instances stand out for their similarity in phrasing and context, and the differing extent to which Goodsir believes them.

The first instance of an imperial deflection is when Goodsir brings supper to Silna. She has just been kidnapped by Hickey, Hartnell and Manson. When Goodsir introduces himself to Silna, he has a first moment of realization of the meaning and scope of empire and his place in it. He explains their purpose (“For our economy. For trade.”) and seems to have a moment of self-awareness that those are neither good reasons for dying nor for killing. A moment later he points at himself, hoping to introduce himself. “Goodsir,” he says, which is both his name and also an insistence that while the policies that brought him here may be flawed, the men sent to die were good men, not deserving of the scorn we direct at them for the imperial policy they carry out. “This is not how Englishmen act,” he says, despite evidence to the contrary that Englishmen have, in fact, just acted this way. This is the first instance of a textbook liberal deflection: insisting on the character over the actions of empire. What does it matter for Silna that he means well? The helplessness is emphasised by the abrupt ending of the episode after Goodsir’s desperate introduction.

The second time Goodsir insists on the character of Empire over its actions is in quite a different context. A hunting party has just massacred an Inuit family, people that Silna knew, and now Silna is being exiled from Terror Camp. Goodsir knows that it’s safer for her to go, but selfishly wants her to stay. He feels for her, and perhaps feels he must offer some sort of apology for the behaviour of his co-nationals. Then he tells her: “I wish you could come to England and see for yourself. It’s not like we are here. People there are good.” Once again, he insists on the fundamental character—the “English” character—of the empire that exculpates them from the crimes they commit abroad. But even in the speaking, he appears to realise the futility of this deflection. This second deflection is followed by a word spoken in Inuktitut for which no translation is provided.*** Silna reacts with a small smile and a nod of her head. The choice not to subtitle or translate Goodsir’s last word to Silna can be read in various ways, but it remains first and foremost a place to which we—the liberal audience at home—cannot follow Goodsir, who has been our surrogate up to this point, implying perhaps that he has taken a step that we have yet to take in confronting our own imperialism.

Both of Goodsir’s deflections follow violence done to Silna (or threatened against her.) In the first instance, it’s her kidnapping by Hickey and his associates for which Goodsir first apologises, then makes excuses; in the second instance it’s the violence that will be done to her should she return to Terror Camp, as well as the violence done to other Inuit. In both cases, it’s Goodsir’s job to draw attention away from the liberal empire’s illiberal actions by insisting on its liberal character. The extent to which he succeeds—or fails—opens up these liberal deflections of empire for us. Goodsir is not an uncritical liberal audience surrogate. I watched The Terror for the first time during the March 2020 lockdown, and hearing “For our economy. For trade.” hit hard for me as a person living under a capitalist system where economic necessity is continuously valued over human life. Goodsir realises, in justifying, the hollowness of some of his justifications, even as he fervently holds on to others.

Goodsir stays alive long enough to witness all the ways that Englishmen may act, and is made to participate in them. His disillusionment with his co-nationals at the end is nearly complete. But his commitment to liberalism, I would argue, remains.

In the end, Goodsir returns to science. His final vision is that of the beauty that no doubt inspired his career, the wonder that he told Crozier he still feels. But it’s also a vision that remains within the ordered boundaries of the liberal empire: the specimens are foreground on a white background, they are separated from nature, standing contextless and only for themselves. Goodsir’s final vision is that of the liberal imperial project, realised.

* When I write “we,” I am, of course, aware that not everyone reading this falls under the umbrella of Western liberal subjects that this “we” assumes. Like Goodsir as an audience surrogate, this “we” hopes to function as a mirror of reflection for our own deflections of empire. I do not understand myself as a “liberal,” certainly not in the sense that most US-Americans use the term. I see liberalism as the bedrock of how we do politics in the 21st century. In that sense, we are all “liberals.” From the position of someone who is a “liberal,” as a subject of a liberal democracy, I do not exempt myself from the category of people that has, at various points in their lives, made excuses for empire, knowingly or unknowingly. These rhetorical strategies, so ingrained in how we talk about who we are, make it all-too-easy to fall into the trap of convincing ourselves that there is something redeemable at the heart of our empires. We must make these strategies explicit to recognise their falsity.

** Stanley’s refusal did not come out of an assessment of the futility of the procedure, which might have spared Silna’s father further suffering. In that sense, both Goodsir (in his belief that his knowledge can save the man) and Stanley (in his racist refusal of medical aid) fail Silna and her father, because neither of them centre the well-being of the man.

*** I am aware that you can find this translation in many metas written about it. Do not come into my comments to tell me what it means. I looked it up.

Bibliography

Bell, D., 2014. What is Liberalism. Political Theory 42, 682–715.

Hooper, C., 2001. Masculinities in International Relations, in: Manly States: Masculinities, International Relations, and Gender Politics. Columbia University Press, New York, pp. 79–116.

Mehta, U.S., 1999. Liberalism and Empire. A Study in Nineteenth-Century British Liberal Thought. University of Chicago Press, Chicago and London.

Morefield, J., 2014. Empires Without Imperialism: Anglo-American Decline and the Politics of Deflection. Oxford University Press, Oxford.

[sagesparrow394]

Mariana’s been struggling recently. She and her boyfriend of two years, Foolish, recently broke up. They’re on okay terms, but it’s very awkward. What makes it even more awkward is the two still live together. Mariana has plans to move out, but finding somewhere to rent in her budget has been hard.

He’s started playing video games more often to get his mind off of things. Eventually, he downloads a strange dating simulator called ‘Zip Bomb’, where your romance options are a colourful cast of inhuman characters.

Mariana chooses to pursue the character ‘Slimecicle’, a cute guy who is a humanoid slime. As she plays, she gradually realises that this game’s AI is… smart. Rather than picking from restricted dialogue options, Mariana is able to type or connect a microphone and give her own. Slimecicle remembers what she tells him, no matter how personal. He also doesn’t respond with generic pre-written dialogue, it’s all too specific to their conversations. Mariana is taken aback when Slime starts to talk like he knows he’s in a game, but brushes it off as the game having a purposeful meta twist. This assumption gets solidified when Slime begins to access her files.

Mariana starts to become borderline obsessed with the game. He knows it’s all fake, but after such a difficult break up, he’s desperate to find some kind of romantic connection anywhere - even if it’s a fictional crush on a pixelated slime guy. Slime’s funny, he’s sweet, he’s protective… and just so lifelike.

It doesn’t take long for Foolish and Mariana’s other friends to notice how reclusive she’s getting, how she’s spending literally all her free time outside of work shut in her room and playing this game. They decide to hold an intervention, telling her that her relationship with the game is not healthy and she needs to get back to interacting with real people. Mariana reluctantly agrees to delete the game.

When he goes home, he sits in front of the computer, preparing to delete it… but he can’t. He can’t delete Slime without saying goodbye. He opens the game, and there Slime is, a grin on his face. Before Mariana can even say anything, Slime is shushing him, saying he needs to show him something. An audio file downloads itself onto Mariana’s computer: ‘DoNotReadMe.wav’. It’s a love song - a few of the lyrics are a little ominous, but overall Mariana finds it really sweet. His heart breaks, knowing what he has to do now.

Mariana starts trying to explain to Slime that she has to delete the game. It’s hurting her in the long term. She needs to reconnect with the real world. She needs to be with someone who’s real.

Slime doesn’t say anything. There’s a long pause. Mariana can’t even bear to look at the screen, she can’t make eye contact with Slime.

Come on, Mariana, this is stupid, she tells herself. You don’t need to feel bad for this, for him, he’s not even real…

She finally looks up

To see Slime’s hands have reached out of the screen, gripping the sides of the monitor

Mariana screams, falling back off his chair and onto the floor as Slime pulls his head and torso out of the screen.

“There! I can be real for you! I can be anything for you, Mariana!” Slime’s bit-crushed voice chirps as he continues to pull his pixelated form out of the computer, and as Mariana stares up at him in horror

[project-sekai-facts]

have u ever shared ur thoughts on why vbs started with three virtual singers instead of two?

i mean well i think it's mostly just a case of there being 6 vsingers, 5 units and Niigo not getting a starter for plot reasons, but also i think the specific selection of MEIKO and Len makes a lot of sense for why VBS got the two.

Street SEKAI MEIKO doesn't really do a whole lot. She never really performs with the others and usually just works at the cafe. She's the vsinger equivalent to Ken, she's a mentor to the kids but doesn't join in with them. But obviously, VBS needed a starter to join in with their performances, so you've got Len leftover and his personality meshes well with the members.

Actually I think it's funny that technically VBS started with 4 since Rin was there the whole time and is said to have existed before the main story (and is mentioned in said story and actually appears in the vsinger one). 3 is a bit much to count as their unit specific vsingers though, and Rin was already assigned to MMJ so it makes sense she doesn't count as one of their main vsingers. Plus she's only really there so Len could have a partner.

And if you want to get really technical on it then they started with 6 because KAITO and Luka had been there the entire time but fucked off somewhere else for a bit.

I have two theories. One of them (the far more realistic one) is that all of the vsingers being there from the start is to set up a sort of team as VBS eventually did at the end of their first arc. The other (grasping at straws) one is that the SEKAI was influenced by more than just VBS, but VBS are the ones who can access it. I talked about it more back in July. It's a bit ridiculous, but we know SEKAI take a while to form, we know Street SEKAI has been around for a while, and also there's the fact that some of the vsingers take influence from RADder, which is certainly something alright, especially considering that when the SEKAI manifested Toya didn't know anyone other than Ken and Kohane knew none of them. You could just say that Akito and An have more influence on the SEKAI which is arguably true but sometimes meta can be fun too.

[werewolf-kat]

Freelancing web dev/designer here! I wanna add some tools and more resources to this list for everyone. Hopefully this is more exciting than it is intimidating. Webpage creation can be fun and useful - especially for those looking to build their own online portfolios as social media gets worse and worse for indies/small businesses fighting the constantly changing climate of algorithms and other corporate junk.

More casually, go and make that fan page you’ve always wanted. Start somewhere - anywhere! My first websites back in 2007 - 2010 were for virtual pet site fan pages, an American Dragon: Jake Long page begging for a season 3, my own made up adoptable pets, and a free virtual pet site of my own that used a cool tool that existed back then.

Modern design is actually cleaner to work with, more accessible, and you can still be as creative as you want despite what professional websites adhere to for their marketing standards. Lots has changed and improved since I first started...

Educational Resources

MDN Web Docs | Similar to W3Schools, might be a preferred format for some to learn from as an option. Full of interactive examples and detailed explanations!

CSS Tricks Guides | Visual articles with organized categories for each property and value involved! I always reference their Flexbox guide since flexbox stuff gets confusing to write by pure memory each time.

Kevin Powell’s YouTube | A chill channel I’m a fan of that web devs can appreciate at any level of experience! He’s got shorts for fast solutions, full troubleshooting guides, reviews for annual developer surveys, and advocates for more diversity in the web development scene that isn’t white guys such as himself. Super welcoming, friendly, and won’t talk down to you for trying to learn. The link is his playlist category that’s good for beginners out there, for your convenience.

CodePen | A massive gallery of code snippets that other developers have created and shared for free viewing/tinkering. You can find insane CSS-made art and animations on here, JavaScript samples, and more!

 Accessibility Guide | Making your website accessible is an important step in designing a page for anyone to see. Many types of disabled people surf the internet with accessibility devices such as screen readers. Those with more limited internet (speed, bandwidth, etc.) can also benefit from these standards.

Epilepsy Guide | A specific form of accessibility that’s important to consider as well. If you have moving, flashing, and otherwise visually stimulating content, look through this for solutions to make your pages safer to look at.

Meta Tag Guide | A beginner-friendly guide with examples of how HTML meta tags affect the way your public site and its pages will show up in search results.

SEO Guide | SEO is an abbreviation of Search Engine Optimization. This is good to learn if you’re a serious designer who needs your page to show in search results. Important for those of you out there making business and/or portfolio pages. 100% use your username, business name, and other unique (but not private) identifying factors as keywords that will connect your page to being found along with your social profiles.

[Fun Fact: SEO is the reason behind food blogs sharing their whole anime backstory before the actual recipe... Hurrah]

Browser Extension Tools

ColorZilla | FireFox & Chrome | Select colors from webpages, analyze CSS colors on pages, generate gradient values for CSS, and save palettes. Provides hex and rgba color values too!

RGBlind | Firefox & Chrome | Simulate some types of color blindness on your website for accessibility purposes.

Colorblindly | Chrome Only | Simulate a wider range of color blindness types, but unfortunately not available on other browsers from what I’ve found.

Page Marker | Chrome Only | Write/draw anything you need for brainstorming your page’s development, right on top of it! The marker strokes stick to that point of the page and moves with it when you scroll.

Eye Dropper | Chrome Only | For selecting and picking colors off of web pages. Gives you the hex and rgba values on the spot!

Grayscale View | Chrome Only | Good for previewing shade values and contrast on your website for accessibility and readability purposes.

Other Tools

Visual Studio Code | Open Source program provided by Microsoft of all things! This comes with many built-in tools and functions to make HTML, CSS, JS, and other compatible languages be more convenient to work with. More cozy to work with than the manual tedium of organizing things within bare text editors. Color coded words, auto-stacking, arrows that help you be sure you have things closed up properly, and more! Definitely look through its extensions shop for anything you think would help you in the ways you need for development.

openElement | Create web pages without coding. Can be good for planning how your website is laid out, or to make something without the knowledge required! I haven’t used it myself, but it looks promising.

Accessibility Checklist | A superbly handy way to track your website’s depth and level of accessibility. The + buttons give descriptions/suggestions for each item on the list to make improvements for your website.

Photo-sensitivity Analysis Tool | A free program that analyses content on your pages for any risks of epilepsy and other photo-sensitive complications among viewers. Important for accessibility!

That’s about all I can put together at this time. Be free! Go wild! The internet is still ours to build in - not just big corps, scammers, or bots.

⬇ make a webpage right now its free ⬇

neocities.org 👈 for website hosting

internetingishard.com 👈 for coding tutorial

w3schools.com 👈 for a searchable index of every html and css term under the sun and live examples of how each one works

sadgrl.online 👈 for a layout builder, if you dont want to do everything from scratch

[nanowrimo]

3 Most Common Worldbuilding Mistakes for Writers and How to Fix Them

Every year, we’re lucky to have great sponsors for our nonprofit events. World Anvil, a 2021 NaNoWriMo sponsor, helps you develop and organize your characters, plot, and world setting. Today, World Anvil founder Janet Forbes is here to share some pro tips for worldbuilding. Don’t forget to check out the offer to NaNoWriMo writers for 30% off a World Anvil membership!

I talk to hundreds of writers every week, in our World Anvil Q&A live streams, our World Anvil writing challenges, and meetings with our professional authors. And mostly, they’re encountering the same few worldbuilding problems! Here are the 3 most common worldbuilding mistakes, and how you can fix them:

1. Mary-Sue Worldbuilding

You’re probably familiar with the Mary-Sue—a flawless, artificial-feeling main character. Mary Sue Worldbuilding follows in the same vein. If everything in your setting is directly related to your main character, it feels like the world revolves around them. It’s too convenient and artificial. That’s Mary-Sue worldbuilding.

Mary-Sue worldbuilding is usually caused by worldbuilding exclusively around your plot. Introducing larger-scale conflict in the backdrop of your setting, current affairs like civil or religious movements, war, disasters, or technological breakthroughs, can help expand the world beyond just your main character. 

Your main character might interact with these elements, or more usually, with problems caused by them. For example, they might help some refugees from “that war over there”. But your character should not be at the core of everything—they’re not the cause of the war. Other things are happening outside of your story, in the background. (Pro-tip: this is a great way to reinforce your genre and themes, and make your world feel alive and expansive, too!). 

Fixing Mary-Sue Worldbuilding Of course you’ll need a series bible like World Anvil to help you keep these current affairs organized, connect them together, and make sure you don’t lose your notes! Use World Anvil’s worldbuilding templates to get inspired for your big conflicts, and remember - you only need to write a few bullet points to start with! You can always expand more later (we’ll talk more about that in a moment).

World Anvil’s Worldbuilding Templates are custom-made by experts to help inspire and guide your creativity—and you can customize your own templates too!

2. Mosaic Worldbuilding

You know those computer game worlds where each area feels like a self-contained zone? Where the “desert” region and the “forest” region have no trade, communication, or overlap between them? That, in a nutshell, is Mosaic worldbuilding. It ruins suspension of disbelief, makes your novel setting feel false, and can pull your readers out of your story! 

Fixing Mosaic Worldbuilding

The best way to avoid Mosaic Worldbuilding is to make sure that you have a clear overview of your world early on, with each major region and concept penned out in just a sentence or two. That way, each region will feel like a connected aspect of your seamless setting, not a tile shoved on the side. 

On World Anvil, each world setting has a “Worldbuilding Meta” section to help you detail the 10,000 foot overview—the big stuff. And not just your physical world and its people, but your genre, your motivations, and your themes. This invaluable reference tool helps you expand your setting and add more detail, and will also help you sense-check what you’re adding!

Once you have a clear picture of your meta, and know the overview of your world, it’ll be easy to make use of cultural aspects like imports and travellers, cultural diasporas and geographical transition zones to make your world seem more connected and less artificially divided! And you’ll be able to do it without spending too much extra time worldbuilding. Which brings me to my final common worldbuilding mistake…

World Anvil’s Worldbuilding Meta tool helps you focus, streamline and sense-check your world setting! It’s full of guides to create an excellent overview for your worldbuilding project. This is the view mode of Manifold Sky by B.C.G. Wurth.

3. Worldbuilder’s Disease

Sounds nasty, right? Well, Worldbuilder’s Disease is a very common problem—a compulsion to continue worldbuilding things which aren’t actually useful. Here’s my favorite example—the “elven shoes”:

In your world you have elves. They wear shoes. So far, so good. Maybe there’s a plot-point where an imposter’s revealed because they’re wearing the wrong shoes. So you fill in a few details on your series bible. But if you find yourself writing a 5,000 word treatise on elven shoes through the ages… honey, you have worldbuilder’s disease.

I use shoes as an example, but it could be anything. It might be detailing three centuries of monarchy, or expanding unvisited areas in excruciating detail. Sure, it can be fun, but all that time spent on unnecessary parts of your setting isn’t helping you polish the core parts—or get your novel written! It’s distracting you from your primary goal. 

Curing Worldbuilder’s Disease

There are three major causes of worldbuilders disease: 

Lack of perspective

Lovers of prose

Fear of losing your ideas

1. Lack of perspective

Lack of perspective can often lead down a worldbuilding rabbit hole. Keep clarity on what’s important in your setting with tools like World Anvil’s Worldbuilding Meta. This helps you define your active worldbuilding area - not just geographical but thematic areas—which helps  streamline your world and your project, so you can be sure you’re spending your time where it counts!

Also, be clear with yourself WHY you’re worldbuilding the element you’re working on. Keep clear notes in your series bible about how this new element fits into your novel. If it’s little more than set dressing, you only need a few words. For a core concept, you might need more.

2. Lovers of Prose

As writers, we love to write (duh)! But for most of us, writing in prose in our series bible can cause serious problems. Not only does it mean that you write MORE than we should (your get in flow, words happen!), it’s also harder to reference your ideas quickly later on. Stick to short, organized articles in note form. Make sure the salient information is there, and link in anything relevant. You can always expand to prose later if you need to.

Keep your series bible in brief notes with clear headers! This character article took 5 minutes using World Anvil’s character template which automatically adds the headers. The linked articles help me easily reference related people and places as I’m writing.

3. Fear of losing our ideas

Fear of losing our ideas is actually one of the most common reasons for worldbuilder’s disease—that we’ll forget or lose our notes if we don’t write them out in vast detail. To combat this, make sure you have somewhere to keep your world details safe, organized, tagged and searchable. Then you can reassure yourself that you can go back and develop more later if you need it. 

Obviously, World Anvil is custom made for this, backing up everything in one place and linking everything together, so you can easily search, reference and update your series bible whilst writing your manuscript and not have to worry about losing things!

Anything here ring true for you? Or maybe you’re struggling with another worldbuilding mistake or problem? You can always hop into our live streamed Q&A sessions on our Twitch channel and ask us directly! We go live three times a week to answer questions about writing and worldbuilding, as well as helping our community with World Anvil queries too! Maybe we’ll see you there. And happy worldbuilding :)

Janet Forbes is a published fantasy author and RPG writer, whose recent credits include the Dark Crystal RPG with the Henson Company (coming 2021). In 2017, she and her husband created World Anvil, the ultimate worldbuilding and novel writing platform. World Anvil helps you organize, store and develop your worldbuilding and series bible privately, and market your books to the world too! The inbuilt novel writing software, accessible from anywhere, integrates seamlessly with your worldbuilding. And when it’s time to publish, you can export, or publish directly on the World Anvil platform and monetize YOUR way! Check it out at World Anvil.

[year2000electronics]

Tumblr's being weird and won't let me find the Dark Moon rewrite post. I think there was one where you explained the story behind it, at least?

I JUST HAVENT MADE A FULL POST ON IT IM SORRYYYY but i can do bullet points of what’s going down

- so basically this kinda comes from a place of me like. liking dark moon but wishing it had more Characters. so it started with making boss ghosts and then kinda escalated

- so the plot is luigi is looking for e gadd after he went missing in a place near the mansion called evershade valley, unfortunately along the way we see a flash of lightning, a scream, and then cut to darkness

- it fades back in and it’s revealed that luigi is now... a GHOST!! oh no! (this would be the main ‘gimmick’ of the game like how mansion 3 had gooigi as a big selling point)

- he realizes he’s in a lab and he’s been captured by a ghost researcher named professor evershade who said his ghostly dna seemed different somehow so he wanted to see more

- luigi explains the situation and asks if he can help him contact e gadd but all lines to him are dead- evershade theorizes that he must have been taken by the same spectre that turned luigi into a ghost, and luigi immediately goes ‘KING BOO....’ bc who else does he have beef with.

- evershade suggests that if they defeat the four rulers of the nearby mansions they can assemble the dark moon, an artifact that will make sure no ghost will be able to cause their own mischief again

- luigi agrees, and in the meantime evershade says he can try to work on a way to see if he can change luigi back from a ghost

- he uses the same teleportation device e gadd does in dark moon to get luigi in and out of evershades lab, and luigi usually winds up in the small garden which leads to the four mansions

- (meta talk here- the multiple mansion exploring and evershades appearance are meant to kinda trick the player into thinking that it’s a ‘different character same purpose’ scenario, like how both goombario and goombella are tattling goombas)

- (you also get access to regular luigi after clearing one or two rooms in the first mansion- this serves as a bit of a tutorial segment for ghost luigis abilities and how youll be able to switch between ghost luigi and regular luigi to accomplish different tasks)

- ghost luigi probably has the power of a portrait ghost himself, so would have abilities such as the ability to scare other ghosts into fleeing a room or scaring them into doing stuff for him (which would serve as both a puzzle solution and a short-term solution for any segments where you may be stuck as ghost luigi), there are also other abilities like passing through walls (but most new rooms will be VERY dark so it would be hard to suss out details), spectral wind, etc. regular luigi is the one able to catch ghosts though, and regular and ghost forms will often interact in puzzles like a slightly less co-op based luigi and gooigi system

- the first mansion, gloomy manor, is a pretty standard mansion, it’s very old and filled w cobwebs. the boss is a spider-themed ghost, madame moufette. she says the mansions been lost to time and now only the spiders and ghosts live there

- the second mansion, haunted towers, is... actually only a one floor lobby. it’s only when you take the elevator that you realize the entire building is underground and it leads you to a literal icy bunker where an arctic ghost, macready, has spent ages under the bunker and is convinced that a light wielding beast is hunting him down

- the third mansion, treacherous mansion, is a house of illusion, led by a chess-playing ghost named rook. there are stuff like portals, tv static, living suits of armour, the like. rook’s message to luigi is that not everything is as it seems in evershade valley

- luigi comes back from treacherous mansion and gives evershade the third piece of the dark moon, which is when evershade reveals he had the fourth piece of the dark moon all along- and. here’s where things get fucky wucky i’m so sorry

- evershade lifts his goggles and takes off his hat and reveals that HE’S luigi from the future. after the events of mansion 1, luigi eventually decided to become an apprentice to e gadd and became a full time ghost researcher. things don’t seem so different at first but unfortunately e gadd game-overs and so luigi is left all on his own. which is a bummer. with his mentor gone luigi throws himself into his work, neglecting going on adventures with mario to a point that he just stops getting invited... (took mario a VERY long time to stop asking though. make no mistake) over time he becomes a bit of a recluse and his curious and observant nature kinda becomes a hunger for knowledge... he wants to know just what the strange and unusual is and what makes it tick. he also starts using professor evershade as a pen name bc ‘dr mario’ gets people asking about his research for the wrong reasons. though not only does he become more curious but he gets very very bored. ghosts are just poltergeists, tricksters... they’re nothing without a leader. luigi tries to bring back king boo, he invents all sorts of things to try- but the one thing the professor did that he didn’t was invent that damn portrait machine (which has rusted and broken with time- it’s been like, 20-25 years at this point).

- basically, what starts out as ‘i need to bring king boo back so i can have a proper rogues gallery of ghosts to study’ turns into ‘i need to bring king boo back but why would i even defeat him? this is great for paranormal studies’ so yeah. now evershade would like to see the ghost world at its fullest power

- he time travelled back to the past to try and convince e gadd to free king boo (yes he made a time machine hashtag smart) but e gadd fights back, destroying the portrait machine he built. evershade is Angry about this and decides if he won’t help him... perhaps someone else will. his ‘time machine’ is actually a large building that affects all of evershade valley, so it, how it was 20 years into the future, was brought into the past. his backup plan was to trap luigi in evershade valley by turning him into a ghost and making him collect the dark moon shards that he had always wanted but couldn’t get (his ghost researching skills are fine but his ghost hunting skills are out of shape. he could have done that in the first place but he kinda wanted to see his old mentor again.)

- the dark moon itself is an artifact split into four parts bc its effect on ghosts is too much to stand, even for ghosts- it’d give whoever owns it absolute power over the paranormal world and its residents, so the four mansion ghosts have taken it upon themselves to protect them (evershades original plan also involved teaming up with king boo to defeat the ghosts and take the dark moon for themselves)

- (actually, the fourth mansion ghost is polterpup! the dark moon piece WAS in his collar but a certain evershade stole it after the doggy lets his guard down around luigi

- evershade, using the dark moons power, casts a blacklight into king boos painting and finally frees him, offering him ultimate power and ruling over ghosts if they work together as a team. king boo finds this hashtag funny so he’s like ok

- then, luigi gets teleported out of the lab before he can try and stop them. polterpup points him towards where evershades lab has been all along- the fourth and final mansion, old clockworks

- in there luigi finds e gadd being held hostage, where he reveals evershade was trying to threaten him into freeing king boo

- as ghost luigi you also experience side effects of the dark moon in this final dungeon, like controller inputs not working or luigi needing to stop and wrestle off a headache

- so yea... final boss is basically king boo fighting you and evershade cheering him on and you need to counter king boos attacks so that they hit the dark moon and destroy it

- luigi sucks up king boo.... LOL

- evershade is defeated and he doesn’t even have an evil monologue he just kinda stares at luigi unimpressed like ‘really? this is the route you’re taking’ and luigi silently just kinda grabs onto e gadd and whatever toads are in this game. and neither of them say anything

- somewhere in old clockworks a clock goes off, and all the rest of them do too (the one time you hear every clock in sync). fade to white and e gadd and luigi wake up in an empty field where a construction worker asks if they’re ok. pan out to reveal evershade is gone and there’s apparently a construction crew hoping to build four brand new buildings here in this valley

UM THATS IT LOL.... it’s rly overcomplicated i know. i’m sorry.

[azazelsconfessional]

((so i was gonna open up my askbox again but I got distracted doing this and watching streams i think idr what i did the past few hours, buuut there's something I need to cover first, especially since there are so many new people around! Hello! Especially since so many of you are playing OCs/MCs.

Don't worry, it's a tip to hopefully help you along! It may get a little long, especially as I try and provide examples. . .but hopefully it'll help.

I'm gonna talk a lot about OCs but this applies to canon characters too a bit. It certainly helps.

Tl;dr, you should have a character profile page.

(also remember that tumblr mobile doesn't really have direct access to Pages made with the Pages function on desktop, so you'll have to link them manually in your pinned or description or host them on another site(I used Google Docs in the apst) or in a regular post(this makes it very easy to lose as a forewarning) for maximum accessibility!)

(rules pages are also really really handy if you have alot of resteictions.)

So, in general, OCs have a bit of a lower reception rate in rp. Idk if that'll be the case here with MCs because they're, well, the main character. Housamo is also a series that lends itself well to OCs pretty well, especially non-human ones, but I figured I'd warn for that.

BUT. That doesn't mean you shouldn't play an OC! It just means there are things you need to keep in mind!

Think of all of the OCs you've seen--you all seem to be fun and wonderful people, and your characters are surely interesting. But. . .if you don't tell anybody about them, nobody will know what's going on or where to start, which makes asking questions a little hard, right? That's easier to work around with MC characters--we've played the game, we know the story, we know the characters, so we can figure out questions fairly easily based on that alone and go from there.

But with other OCs, especially those that don't represent charactera from mythology or fiction like many other characters in housamo do, there's like. Nowhere to start. We may see a face or some dialogue, but otherwise we don't have a frame of reference.

That's where a profile comes in!

Azazel-mun, I don't want to share all of the info about my character at once!

What if I don't know everything about my OC yet and want to figure it out along thw way?

The profile doesn't have to be super detailed! At most it shoule include things like the character's name and age and probably things like their location, profession, grade in school or place of work, etc., and anything you'd notice on the surface like their apperance. It's never a bad thing to include a description of their personality too, or a small section about their history/background. Little things that even you should probably know, too.

You can also section your profile off a bit into things like "surface info," "meta info," "things you could easily figure out about them," etc. That way, no one can spoil themself. Making lists like this can help you think these things through if you haven't already as well.

Let's use Azazel, a character that you probably know already, as an example here. I don't have a profile set

Name: Azazel

Species: Fallen Angel; Capra Therian - an anthropomorphic Goat (?)

Gender(pronouns): Male(he/him)

Age: difficult to calculate; several thousand years old?

Apperance age: hard to say, he's not human. Adult.

Origins: banished from his home world of Eden, has been in the human world for several thousand years

Profession: Priest of dubious denomination, most likely Catholic or Protestant; teacher at Daikanyama Academy; de facto head of the Missionaries Non-Profit charity Organization; supervisor of the Aoyama Missionaries

Role & Rule: Watcher; Revelation - allows him to see anything within the territory of the Aoyama Missionaries and anywhere the pages of his Artifact see

Apperance: Azazel is a 5'10"(180cm) tall, anthropomorphic goat of ambiguous breed, with fawn fur all over his body and lighter fur on his head and around his neck. He has brown, riged horns which curve out and back. Though his eyes are often closed, when opened they're red. He always carried around a leather bound bible with an eye on the cover, and is never seen without several chains on his person, although only the one(s) around his neck can be seen unless he's undressed.

He wears a black priest's cassock with a maroon sash and a capelet of the same color, with the same eye as on his bible on the shoulders of the cape, and brown dress shoes. The front of the robe is always open to expose his bare chest and the chains beneath.

Personality: Azazel is kind and doting, very fitting of both a teacher and priest, although his openly flirtatious, lustful, and secretive nature causes others to distrust him. He doesn't mind this at all. He has a strong adoration for humans, and values love in all of its forms more than anything. He's a bit of a passive person, often being unmotivated but working hard regardless, and seems to prefer to watch others and the world go by, although he won't decline most invitations to take part in it. He is always aware of anything that happens within the extensive territory of the Missionaries, and seems to know and see just about everything about anyone he meets, from their surface to their soul. . . .

If you know Azazel, or take note of some of the wording or question marks, you'll note I didn't explain everything(although I may have shared more than you want to.) This is just a bare bones exampe of how I do my profiles--but it can get even more bare!

I'll do two this time, a more vague version of Azazel's, and another that obscures information all together, using the same or a similar format to the above.

Name: Azazel

Species: anthropomorphic goat

Gender(pronouns): male (he/him)

Age: unquestionably an adult

Origins: Eden

Profession: Priest; teacher; head of a charity NPO; member of the Missionaries

Apperance: Horned goatman of slightly above average human height. Light brown fur, blond fur-hair, red eyes. Wears priest robes and a gold chain around his neck and chest. Carries around a bible with an eye on it?

Personality: Kind of eerie, but friendly and affectionate. A little flirtatious, especially towards humans. Seems to know everything about people for some reason?

Compare it to the one before--see how I've left even more things off or left things ambiguous while still sharing what's necessary or surface level? However, it's also not as engaging or as informative as the other one where I gave more information.

As someone who plays him, profiles like this aren't as helpful for me lol since he knows so much about everyone and everything, having a lot of details helps me play my character!

Now, as helpful as this is, this is also a character you probably know. So how about I do this with an OC? Normally I'm extremely detailed in my profiles and such, especially for OCs, sharing headcanons and ideas for relationships between characters. But, again, I'll try and show how you can show some info while leaving some up to people to ask about to later be filled in.

Name: Kezia

Faceclaim/Art Source: [this is where you would put where you get the art for any icons you use--if you draw it yourself, say so; if you use official art from a series, credit the name of the character and the series; if you use picrews, link the specific picrews. DO NOT USE ART YOU HAVE NOT BEEN PERMITTED TO USE. DO NOT STEAL ART. IF YOU CAN'T FIND THE CREDIT, ASK SOMEONE TO HELP YOU, DO NOT JUST SAY THAT IT ISN'T YOURS. DO NOT USE ART YOU HAVE NOT BEEN GIVEN PERMISSION TO USE OR THAT ISN'T FROM A SERIES OF SOME SORT.]

Species: Human

Gender(pronouns): Female (she/her)

Age: mid 20's~early 30's?

Apperance age: older than she looks?

Origins: Tokyo?

Profession: Professor; Witch

Apperance: A fidgety woman who looks older than she is. She looks anxious and confused as often as she looks curious and confident. Wavy light brown hair. Often carries around schoolbooks and is never alone, always with a Rattus Therian and often with a Nyarlathotep.

Personality: seemingly anxious, but curious and exploratative nonetheless. On the awkward side, but can still keep up with the Nyarls that accompany her. Gets into trouble when she gets ahead of herself in exploring and learning about the arcane, but her Rule allows her to disappear easily.

History: Has always been curious about magic and attempted to run through a Gate when they began to open up. Performed a summon and brought a certain transients to Tokyo and recieved her familiar and the magic to use her Rule as a result. Currently teaches at a college. She stumbled into a certain someone while attempting to explore time, and became a fan ever since.

That tells you a fair amount, doesn't it? Even for someone you don't know? It may even raise some questions that you could ask. At the same time, it doesn't tell you that much, and that can be as much of a hindrance for coming up with questions as saying too much can. It's really up to you what's too much and too little. Here's a more detailed version! Some things have been left vague or confusing in such a way that they could be filled in after being revealed through asks and play. That way, people are encouraged to/given ideas of what to ask--and you can still share things in the long run.

Name: Kezia

Faceclaim/Art Source: [N/A]

Species: Human

Gender(pronouns): Female (she/her)

Age: mid 20's~early 30's?

Apperance age: somewhere in her 30's, maybe even a little older

Origins: Tokyo, with some sort of connection to at least one other world

Profession: Professor of [?] at [?] Academy; Witch

Role & Rule: [?] & [?]

Artifact, Summon, Familiar?: Always accompanied by at least one Nyarlathotep and some sort of man-rat? She also carries around a book that's labeled as a Grimoire, but it's rare for someone to be both a summon-user and an Artifact-user. . . .

Apperance: A fidgety older woman wearing a labcoat and a witch's hat. She looks quite stressed and has trouble sitting still. Her ashy brown hair is thin and a little wavy, with some strands of gray. Although she often squints, she doesn't wear glasses. She carries around a lot of books relating to maths and sciences and one labeled 'Grimoire' decorated with arcane symbols from Gehenna and Old Ones. She's always accompanied by at least one Nyarlathotep and a very short, bearded man who can best be described as a brown rat therian with a human-like face. Sometimes there's a normal rat on her person or in her pockets.

Personality: Kezia is a fidgety and anxious magic practitioner. She's very curious about other worlds and has been since the Gates appeared in this Tokyo since she was a child, however she has been pursuing magic before then. She often appears somewhat confused about or fascenated by even her usual surroundings, but, at other times moves through the world with confidence even in unfamiliar territory. She also likes rats and other rodents, and as such will often avoid felines and birds of prey. She has a tendency to disappear, seeming to walk through walls despite assuredly being alive.

She's a little bit awkward with people, but somehow keeps up with Nyarlathoteps nonetheless. She's a good teacher, once she figures out how to explain things in ways others can understand easily, but can be a bit difficult to follow and flighty up until then. Aware of this, she's rather patient, if a little down on herself at times. However, she most often simply has her mind elsewhere. Despite this and the company she keeps, she's relatively sane. . .most of the time.

She shares a name with a witch from the world of Old Ones who made a pact with Nyarlathotep, believing him to be the Devil. . .and the ratman always at her side uses the same name as that witch's familiar as well. It's. . .probably just a coincidence. . .who would rightfully make a pact with Nyarlathotep?

History: Kezia is an adult human from this Tokyo before the apperance of the Gates and construction of the Walls. She's explored various witchcraft pursuits since she was a child, with what was originally a mere imaginative curiosity and fascination. After the arrival of the Gates when she was still young, she snuck over the fences built around one and attempted to go inside the massive pillar of light, which she attributes to the reason she often seems to struggle with her vision. Several years later, she performed a successful summon and she recieved her familiar, Brown Jenkin, transformed into a somewhat therian form from one of her pet rats, and was given some powers from Nyarlathotep. She has no discernable control over any of the chaotic creatures, however they seem to spend time around her regardless.

At present she's a professor of a subject that interests her at a certain college. She's had other dangerous run-ins due to her excitement over the arcane and "darker" arts, but doesn't seem to show any signs of stopping. However, after an incident in an attempt to explore time itself, she encountered a certain guardian of time and feels reluctant for once to explore it further. . .although she's become quite a big fan of his.

. . .i ran out of steam amd kinda lost track of where i was going. idk if that helped at all really. But maybe it did! I hope it did. You don't need to use any of those things exactly by any means, but that's the kind of thing you usually see in profile pages. Basics like someone's name and birthday and age and apperance and a little about their personality, maybe some history. Oftentimes things like powers and weapons and the like. Interests, hobbies, ways they could be intereacted with, etc. Just stuff that'd help you know the character.

I write everything in paragraph form, but everyone is more than welcome to use a more script format. I love making profiles, myself--it really helps to think about the character and details about them. Normally I make really, really detailed profiles, but maybe I'll try and be more simple about it this time around. depends on how i'm feeling.

I know this seems weirdly hypocritical given I don't have one but when I first made this blog there were like four of us including myself. I didn't see the need for a rules or profile page because I didn't anticipate that there'd be so many of us or, like, people from other fandoms or who aren't familiar with certain characters. I'll rectify that soon hopefully. But I figured I'd pass along this idea/knowledge to others.

. . .I'm gonna go reopen my askbox now. Feel free to send asks again, ask about this, etc! You can send me an IM too if you want. I'll properly close up the guest event tomorrow. I'm real tired rn lol so idk how much i'll get done, but i usually do things super late at night my time, so i have some time to pull my shit together haha))

[sanchoyo]

danny phantom season 2, episode 17-20 thoughts! finishing up season two! the finale is the THIRD 2-PARTER OF SEASON 2. that's so many! I wonder how many season 3 will have?

see prev episode thoughts in this tag <3

-UERGH WHY DOES VLAD HAVE AN AI WITH MADDIE'S FACE ON IT. SOOO CREEPY. AND MORE 'CREATIONS' waiiiit. vlad is Dr. Frankenstein! (despite his ghost design obviously referencing vampires) HE HAS 'CREATIONS' HE MAKES THEN WONT TAKE REAL RESPONSIBILITY FOR!!! this bitch.

-danny was late and his friends immediately start going off about how hes inconsiderate, and has been treating them like sidekicks??? he just overslept, my god. chill. even if he has, be nicer about talking about it with him?? he really can't help that he sometimes has to chase the ghosts, or has a secret identity to protect...

-'what kind of ghost haunts a miniature golf course' umm. me as a ghost. next question

-imagine going home and theres a tiny child on your bed claiming to be your cousin. with as many cousins I have, I would probably believe her. but the 'ran away from home' BIT....SHES 12?? SHES SO TINY. I hate that they have her belly out in her ghost form, but I like how her colors are asymmetrical. something about her design...maybe the proportions?? are weird to me...anyway danny was good to feed her, but he shouldve taken her to his parents FIRST. or, tbh, probably jazz. (JAZZ DIDNT EVEN GET TO MEET HER!!! NOOO. I mean she said she'll be BACK BUT STILL)

-ANYWAY. shes voiced by AnnaSophia Robb, the girl who was in because of winn dixie, played as violet from charlie and the chocolate factory, and was the girl from bridge to terrabithia. (the movie that made me cry hysterically when I was 12 and I never watched it again because it Broke Me!) thats super cool.

-vlad sucks: the episode, basically. what's new!! I love how he's like, I'm Not A Villain. *immediately cuts to him torturing danny to make him transform, to get mid-transformation DNA, to perfect a Clone.* *immediately shows that he doesnt give a shit about his new daughter Dani and just wants a ''more perfect clone'' and will put her in danger to get that. will let her DIE to get that*

-Dani is danny's clone and is a girl? transgenderism....one of them has to be trans. or they both are.

-dani just. leaving at the end. WHAT? SHES 12. DONT JUST. NO!!! SHE WAS PROBABLY JUST BORN, A MONTH AGO AT MOST, RIGHT?? SHE NEEDS...SOMEWHERE TO LIVE. MONEY? FOOD?? A FAMILY?? AN EDUCATION???! WHAT DO YOU MEAN SHE'S LEAVING!!! OKAY BYE I GUESS!!! D: concern!!!

-the next ep opens with skulker chasing a ghost down. ...does skulker count as a ghost hunter in the way valerie and danny do? I mean, sure, he hunts the good guys too, but he. he hunts ghosts...also, we haven't seen his Real Form since his debut episode! tiny...

-the guys in white are back! ngl, I assumed they were a gag for that one episode. you're telling me they might actually be a threat? ok.

-valerie in her lil nasty burger uniform looks so cute!! glad shes not in that mascot uniform this time. I guess she stopped hiding that she's working there now?

-gregor having white hair, dressed in black and white...and green eyes...sam has a Type, I guess.

-danny being unnecessarily hostile about gregor. danny!!! hes been nice so far. he looks a little...tall to be 14, but. danny doesnt know anything about him! (he does Suspect, but...you cant just spy on people and be rude to them from a hunch.) also, gregor kissed her, and when she freaked out, he was like 'oh no!! sorry, we can take it slow! I understand!' which was NICE. I hate jealousy plots still tho.

-altho. umm. tucker, being concerned about danny spying on them??? SAM AND YOU WERE SPYING ON DANNY AND VALERIE A FEW EPISODES AGO!!!!! im not saying its RIGHT, but dont be a hypocrite!!! AND THEN SAM BEING MAD ABOUT IT, TOO.

-DANNY IS A 7 ON THE SCALE OF ECTOPLASMIC POWER!!! out of 10? so I want to know where the other ghosts rank...I mean it's a list from the guys in white, so, it may not even be accurate, like, they havent seen ALL of his powers, have they?

-Lancer being like 'im not cooperating with the FEDS' until they said they could access his tax records. they already did that joke with jack, but like, its still funny. kings of tax evasion.

-tucker's aggressive third-wheeling. but gregor being super into it. gregor/tucker is the real ship here. then gregor kissing danny on both cheeks after hugging him. bi poly king gregor. (he does turn out to be a liar with a phoney accent. unsurprising, BUT THE CONCEPT OF HIM BEING GENUINE AND THEM ALL DATING IS FUN)

-THE...GUYS IN WHITE THINKING GREGOR IS DANNY PHANTOM. LMAOOO. GET HIS ASS. or,, Elliot. lmfao

-sam saying tucker is part of the package because theyre friends was super sweet <3 but also 'part of the package'...polyships are obviously the solution to these dumb jealousy/love triangle plots.

-danny crashed a whole plane. the collateral damage...

-is he....

-you know....

.... (ITS NOT GAY IF YOU'RE DOING IT TO PRETEND TO BE SOMEONE YOU'RE NOT, AND LIE TO A GIRL. RIGHT? he was getting a little too into pretending to enjoy tucker's company, and the above...c'mon, guy.)

-lmao, freakshow is in actual prison. I didn't expect a follow up, or for him to show back up! in the finale of this season, too!

-THE SICK TATTOO GHOST IS NAMED LYDIA!!! more Lore On her. freakshow seemed genuinely concerned about her. also, is she mute? I don't think she talked the first time we saw her, either. and we didn't know freakshow 'envied' ghosts, either, the first time, we just knew he was controlling them. interesting!

-...they literally stole the infinity gauntlet from marvel and called it the reality gauntlet. is that legal. what the fuck. even with the gems in the lil slots, having different powers...they had freakshow in jail, but didnt check his pockets??! hes just still in his lil outfit??? what kind of ...oh, its in amity park. yeah, all of the adults are idiots, okay, sure.

-'freakshow!' 'in the anemic flesh!' dude take some iron pills then. also, sure, the red eyes could be contacts for his aesthetic, but the whites of his eyes are yellow! does he have jaundice?! he severely needs more...like, every kind of vitamin. (this is what im worried about as freakshow attacks danny with giant robots)

-again, goth circus is a sick theme, and I love his goth train.

-oh FUCK every single person saw danny transform. on a stage. including his parents via TV. oh god. the guys in white and immediately like 'youre coming in for experiments!' SCARY. at least the crowd is willing to help him to escape...perks of now being a local celeb! even the kids at school are accepting :) this is what, the third time his family has found out? its always been an alt timeline tho. and danny fully intending to just rewrite things again instead of...I dunno, trying to roll with it this time? hes really worried his family won't accept him, huh...

-'maybe our son IS THE GHOST BOY, but its not as if our family's ghostly activities have EVER PUT YOUR FAMILIES IN DANGER' maddie. mmmmmmmmmmmm. okay.

-danny 100% prepared to run away from home because of this :( oh :( and saying his parents are 'looking for him, or a scalpel to dissect him with' ouch...

-THE GUYS IN WHITE TRYING TO ARREST A 14 YEAR OLD. fuck da feds.

-side note (another one about voice actors...) freakshow's voice actor, Jon Cryer, was lex luthor in pretty much every DC tv show, which is why I recognized his voice, because my dad loves those shows so I've seen a good bit of them without seeking them out...)

-the old man saying 'hey, i still had minutes left!' and danny saying 'you gotta watch those roaming charges!' about danny destroying the people in the diner's phones so no one could report seeing him...would kids today understand these things. can you even BUY minutes anymore...I remember my first phone being a flip phone, and the fact I always had minutes when my sister ran out super fast, because I didnt have friends calling or texting me like she did...:/

-the fentons being genuinely like 'why didnt danny trust us and tell us this, we love him :(' and JAZZ LAYING INTO THEM WITH THE 'DISSECTION/MOLECULE BY MOLECULE' LINES. LITERALLLLY. they need to apologize

-technically, lydias stronger than you! -jazz lesbianism moments! when did you even learn her name!!! but also get freakshows ass. lydia is also cooler looking. looove her design sm still.

-jazz psychoanalyzing freakshow... (also, her also having ghost envy? au where jazz is a ghost!! id like to see it)

-im glad the kids still got to go to their respective vacation things, even if they cant really stick around and enjoy them much...

-furry: confirmed. (also tucker calling her hot. tucker is a furry confirmed)

-danny being mad someone at the comic con is selling comics of him without permission, lmfao. give him his royalties!

-freakshow > thanos because hes a drama clown and does use his gauntlet to be FLASHY AND DRAMATIC.

-jazz's 'USE PYSCOLOGY' to danny about freakshow LMAOO. AND THEN IT WORKING. but, oh, freakshow's ghost form sucks. I like him as a clown better tbh. good thing danny took away his ghost powers!

-his parents hugging him and saying theyre proud :"( and saying 'of course you lied to us, we never gave you a reason not to!' and saying they were in the wrong basically for always talking about hurting ghosts aaaa :""(

-then he WIPED THEIR MEMORIES AGAIN!!! FUCK. I can understand him wiping the goverments/student bodies' memories, but why his parents?? they were being accepting!! ARGHHH. season 3 couldve been them all trying to adjust to them knowing!

-I know, on a meta level the showrunners probably wanted to just reset things to the status quo of him having a secret identity. But. We've been doing that for (2) seasons, I'd love if season 3 could be like, his parents adjusting to this and trying way harder to learn more and accept it (and the shenanigans that could come from that) and for fun, if he didn't wipe the students memories, it could be him being popular for a while, then everyone slowly realizing, oh, he's still Danny. Like. he might have ghost powers but hes Just The Same Guy instead of putting him on a pedestal (and seeing them all try and help him hide it from the giw/people who don't know!!)

-fuck they didn't even explain WHY he wiped everyone except sam, tucker and jazz's memories. he just Did It right when his parents were saying they loved/accepted him!! and sam and tucker didnt question it at all!!! HELLO??? very annoyed about this turn of events.

-anyway. onto season 3! I know its shorter than the first two seasons, and is the last season... I might just do it in 2 bursts if I can... :3c depends on the episodes' content and how much I want to say about each!

[ganymedesclock]

there's a post somewhere about how ganondorf's death is often presented almost as a holy death, deeply dignified and with appropriate silence. i think the term the person used was like a kind of anti-martyrdom, like. "a holy death, but not of something good". i'm not sure if i'm using the terminology entirely correctly, but that's something that's always hit me. like. i don't think that comes from just the general seriousness of the plot, but also that there's a quiet acknowledgement that fate

itself was against him - and the inherent tragedy of that. like. they're So Close to digging just a little further and questioning that concept of fate + supposedly inherent character weakness in the first place. this is present in oot - zelda acknowledges him as pitiful, someone who couldn't control the triforce. and in tp, zelda seems to do something like a quiet prayer. this aspect of zelda herself isn't present in wind waker (iirc), but is embodied by the king, who directly compares himself.

That’s a concept that a friend of mine talks about a lot ( @betterbemeta ) in almost those exact words but I asked her and she said she wasn’t sure of the specific post, just that she didn’t get it from someone else.

But, yeah, I feel like... there’s this interesting sort of counter-narrative within the Zelda series, I think? There’s the main narrative, which is the Legend and the Cycle and that it is Correct to perpetuate the Cycle and live out the roles people are given.

But there’s also a lot of counterpoints, of things making it clear that the Cycle is hurting people, that you will not be rewarded or kept safe for perpetuating it- and in Wind Waker this is very interesting, because, a lot of the evidence points to Ganon’s stance- “Your gods abandoned you!” being correct. 

Hyrule was destroyed. Most of its people were killed. Two young people who were active servants of the god at the time were murdered and nothing protected them. Ganon comes across as someone who’d know- because he’s acting as the Divine Opponent, here.

And there’s this scene, late in Wind Waker, where he reads Tetra’s dreams with his power.

This scene sticks with me, because it’s Ganon doing something unnecessary. He’s got no reason to treat Tetra hospitably at this point. He’s got no reason to tuck her into a bed, which he does, or acknowledge that she’s a child, or wonder who she is besides Zelda. 

And, yet, we have this. unexpectedly introspective soft scene, and while it’s followed by the puppet Ganon fight, the things he says there don’t seem just like villainous trash talk, but, nearly a plea for these kids to realize how messed up their situation is. They’re allegedly agents of the gods who are being chewed up by their Fates, used and cast aside, and while he has an agenda in not wanting this to happen (as their given Fate is to be parties in his execution) there’s a bleak humor Wind Waker Ganon has about the situation that, to me, has never actually been contradicted within the Zelda games. Words to the contrary ring hollow. In practice, we watch Hyrule desolated, we watch its executioners throw him on vulnerable populations (in Twilight Princess, the Sages know enough of the modern Twili to recognize Midna in her cursed form- so they had to have known the people they were leaving at the mercy of a wounded, panicked Ganon who was nonetheless fully capable of killing a person with his bare hands at that point).

In Breath of the Wild, which doesn’t even depict Ganon as a person who can argue his point (though the sequel may shed new light on that), he still nonetheless seems correct about the nature of the cycle; Zelda is unabashedly a survivor of child abuse who was forced to pray in sacred springs starting at age seven. 

BotW is basically the series’ most detailed thesis yet that the Cycle broke Link and Zelda and tore pieces from them they’re not getting back. Both of them lost a century. Zelda’s passions and interests were sublimated to force her into a passive role. People they knew and were close to died. Link’s habitual silence is depicted as a product of the anxiety that the hero role pressed on him, and he was also a human shield just to guarantee that of the Champions, Zelda at least could make it, that left him critically injured.

The only real coherent defense raised by the Cycle- which is meta-wise, “justified” by Skyward Sword, which establishes it as an unholy curse- is “this is the only way to save Hyrule” which is never challenged or argued or defended. It’s merely accepted. And we keep watching young, vulnerable kids following the paths laid out by their predecessors and being torn apart by these events.

Link and Zelda don’t look like people who are protected by benevolent gods that shine over them. Repeatedly, the deities of the Zelda setting are depicted as not especially loving. In A Link To The Past, the Triforce itself says it doesn’t care about good or evil, merely that Link has proven his worth and should now make a wish. Other characters in the setting describe it as fickle or a troublemaker. In Skyward Sword, Zelda, regaining Hylia’s memories and thus the clearest potential insight into how Hylia was thinking and feeling, states that Hylia obtained a mortal incarnation basically as bait for Link, who would be driven by compassion to protect his friend, and thus get functionally conned into acting as Hylia’s champion.

I think this is why fanworks that put the chosen three on the same side make sense, because, in this way, Ganon is more a contemporary to the heroes than the King of Hyrule, who, no matter how often he dies, never really has that sense of being a martyred hero who’s lost fragments of himself. Daphnes was able to choose his own death, and the death of his kingdom, on his own terms using the Wind Waker and then the Triforce; Rhoam controls the narrative at the beginning of BotW.

Ganon?

Just from what we know about BotW’s sequel (which is not much at all) Ganon is having a bad time. In a way, his fate seems to combine elements of Link and Zelda’s- he was confined for a long time in a death match with another force (Zelda), and he was heavily and brutally injured and may have lost consciousness (Link) only to awaken in an unfamiliar future where he’s been all but forgotten (both of them).

And part of this is the need that the games seem to have, to have everything be Ganon’s fault, but to never acknowledge or explore the relationships Ganon actually, has with the various entities he ostensibly commands. I love Wind Waker, but, as friends of mine have pointed out- there’s only flimsy excuses at best for Ganon to put the various boss monsters in the environments they’re found in. They’re themed to their environments so that they seem fitting elements, rather than something foreign placed there that’s disrupted an extant order.

It leads to this sense of Ganon more as a pariah than as a true Source Of Evil. Because he’s blamed for everything, including things that don’t actually seem to further any of his stated objectives and in fact, might even work against something he is stated to want (e.g. the withering of the Deku Sprouts in Wind Waker, which are stated to be a potential way to drain the Great Sea and leave the Land Below accessible once again- the big thing Ganon wants- but they’re stated to fail because of Ganon’s magic; or him outright saying he wants the sun to shine on Hyrule when earlier in the game Daphnes accuses him of cursing the entire sea into a state of darkness because he wants everything to be dark)

Ganon’s not blameless and harmless- like. he absolutely did shit and is rarely sorry for it or sorry but not enough to stop- but, it definitely feels like his role as Hyrule’s Enemy is a degree outside of his control, much as the Hero or Princess roles are out of Link and Zelda’s. This is a game series about people being forced into roles that cause them to suffer, and then the end takeaway is I guess It Was Worth It because the Bad Man Died.

It’s this situation where the narrative tells us we are dealing with a demon man who hates everything and the only holiness or justice can come from his death, and then at the same time we’re shown a guy who is a power-hungry jerk with a large list of offscreen and frankly mystifying crimes that don’t seem to add up with anything he seems to want or value or even his sense of humor. And it ends up leaving the whole Cycle... feeling rather bleak.

[box-bunny-grey]

Hey remember when I talked about a video game and didn’t edit what I wrote? Guess what I’m doing again

So decided to see if I can’t make a habit of talking about games I finish here and there.

So here’s me talking about 13 Sentinels.

Gonna do my best to be non-spoiler too.

So 13 Sentinels is the latest game from Vanillaware, a company I’ve enjoyed a lot of games from (Muramasa: Rebirth, Odin Sphere, Dragon’s Crown) and is pretty heavy divergence from the ones I’ve played. I’m straight up just going to ramble on here in an order of events that makes sense to me. Also this is like just right after finishing the game so I might be general about some things/completely wrong.

Once you get past the prologue, you’ll have access to two gameplay modes, which you can choose at your leisure, provided you’ve met the requirements to unlock them (explained later in the story section).

Gameplay

13 Sentinels is, at its core, a tower defense game. You have a terminal you have to defend and, depending on the map, in addition to a city, whereyou either have the option of holding out for two minutes or taking out your enemies, the kaiju. The exception is generally boss levels, whose only goal is do defeat the boss enemy.

Your tools in defending your Terminal are the afformentioned 13 Sentinels, where you pause the game to make commands but otherwise the rest of the game functions in real time.  Sentinels are divided into 4 generations and their pilots.

Generation 1 sentinels are your melee fighters. They get up close to the enemy and clobber them for big damage, and these are usually what you’ll be bringing in to deal with bigger, more armored kaiju. Their toolkit can lead to some interesting combinations. For instance, they have access to a buff that can massively increase their attack and movement speed but also massively increase damage taken, or massively increase defense but take a hit to their movement speed. They also have the ability to jump around the arena to smash smaller enemies while moving up to their targets. Finally, they have access to anti-air flares and EMPs to ground aerial units (which they generally have no was to attack unless they do so). A quirk of their EMPs is that they also function as a taunt, if a Gen 1 uses their EMP the kaiju will focus target them.

Generation 3 (we’ll get 2 for a reason later) are the opposite of Gen 1. Generation 3 are your long range units, able to use EMPs in a wide range with no taunt attached, along with rail cannons and a variety of missiles. Initially the Gen 3s might seem like the most powerful units, as in early game their ability to clear massive swaths of early kaiju seems overpowered. But as the game goes on you’ll find that while they’re excellent support fighters and crowd clearing units, some high level enemies will either have so much health or anti-missile tactics that you’ll realize the strength of your other generations for dealing with these situations. But as said, these units are great for clearing out massive swaths, and while not as powerful as the other generations in dealing with certain massive enemies can hold their own regardless.

Generation 4 are most support units. While able to stand on their to some extent, their primary focus will usually be applying shields and spawning interceptor drones, and dropping mines to impede kaiju advance. In addition, some can even draw enemies into a gravity pool to set up other sentinels to take them out in one fell swoop. Though depending on how you build you can also use them for some melee abilities, especially with one pilot’s passives, both mech and otherwise. Gen 4 are also the only flying sentinel, so if they have to be somewhere they can get faster and more directly than other sentinels.

I saved Gen 2 for last because they are all rounders, and thus have access to melee, ranged, and support abilities. Though they do not excel as any of the others do, and thus their abilities may incur higher cost, sacrifice range, or have a longer cooldown. Gen 2 however is not simply a lesser version, and that difference comes in their support. All Gen 2 support comes in the form of various stationary summons. Including a shield generator, healing generator, sentry turrets, and perhaps most valuable guardians. Guardians are the only way other than Gen 1 EMP to force kaiju to target something, but instead of one of your sentinels it is instead a dummy, thus allowing your melee units to sneak in a back attack or simply take the heat away from other units.

You have access to 3 of each generation, with the exception of generation 4 which was 4 sentinels. Each sentinel as said has a different pilot, and this allows you to build their arsenal differently to suit their strengths. For instance, as above I stated a Generation 4 can be melee built. This is due to some of the pilots skills (for instance, one where their stats get higher as more kaiju surround them) and passives for their mech which means low damage attacks of smaller kaiju can’t hurt them, and they can even counter those moves against them. Combine that with an armor piercing melee attack and point blank aoe missile attack and this support unit might wind up patrolling around the battlefield as much as your Generation 1s.

Other abilities of note could be that certain pilots get a stat increase if they’re far away from allies, or nearby other ones of note, or using the defensive action leading to a buff for the active team. While it all seems overwhelming at first the game eases you into different generations and kaiju types, that by the time you have access to the game proper post-prologue you’ll at least have an idea of what each unit can do, and even if you don’t chatter in between battles will suggest you give some thought to other systems.

In addition, how the game does ranking is interesting. Rather than having ranking and score intertwined, the ranking system is determined by how much damage sentinels, the city, and the terminal took. In addition, there are separate bonus objectives which are usually using certain characters or generations of sentinel, and/or either clearing the map in a set amount of time or without something taking a particular amount of damage (sentinels, city, or terminal). Getting maximum rank (S) and completing bonus objectives unlocks extra lore in the archives, while score is simply bragging rights to comboing together a lot of attacks.

Another feature exists in which once you get past the tutorials, pilots can only fight a certain number of times on the active party before needing to take a break. Thankfully the game gives the ability to recover all exhaustion of pilots if a bonus objective calls for it, and the only advantage to paying attention to this feature is a score bonus multiplier.

In short, the game does a great job of separating the meta version of the game (racking up maximum score) from fun challenge intended to be done for lore.

Story

Like I said trying to avoid spoilers so this might be short.

While the battles are their own part of the story, the general story portion of 13 Sentinels is its own, visual novel style section. After the prologue you’ll have unlocked about eight of the thirteen stories, and gotten an idea of each of these character’s goals. As you move on you’ll unlock the remaining 13, and play an interesting balancing act.

See, the stories have a point where you’ll be cut off from it, and either will have to do other stories or the Sentinel gameplay sections (Sentinel gameplay areas also function like this). It helps keep a good balance in the non-linear narrative, so reveals tend to come naturally as getting farther in certain stories will elaborate on revelations of the story that unlocks them.

It’s a fun ride and the stories have neat variety both in protagonists and structure. Unfortunately in the interest of keeping away from spoilers is why this section isn’t very big. I’d say if you even have a passing interest in sci-fi or mecha I think you’ll enjoy it.

Oh yeah also don’t worry about missing things in the story. The game does a good job of making sure you get everything, so if you see stories you think you missed it’s either something you’ll be able to do later OR an event that can be summed up as “well we accomplished nothing that sucks.”

Nitpicks

Really, I only have two issues with the game, and I can honestly say both are nitpicks.

The only gameplay problem I have is that the game doesn’t really tell you the difference between maxed out systems (your moves) and maxed out sentinel upgrades (your stats). The best way I can put it is this: systems level up to level 8 maximum. Sentinel upgrades level up to 999.  So would have liked an indicator to that.

The other is a story problem and the best way I can think to put it is this: early on these are more that one character has discovered a truth of the world and the reason you’re cut off is you need to understand what’s happening with the other character’s story, or to have a good momentum of reveals. But as the story goes on, probably at about the 75% mark, stories start interrupting each other and the ping ponging is less teasing out hints and more because the character you were just playing as isn’t technically the protagonist of that plot point. I say this because some sections were light on this overlap as what was going on in the main story of one character was background for another, so they sometimes get a little messy as they overlap properly. It doesn’t hurt the game’s story tremendously and  only happens a few times, but it did take me out of it when it did happen.

Really that’s it for negatives.

Is good game would recommend.

[bloodfcst-a]

low-key a meta, low-key just entertainment. 

but i do believe yufi knows how to do the hand massage. 

partially because yufi’s well acquainted with chakras and releasing energy through various points of the body, and allowing it to flow through her both inwardly and outwardly through key access points. given that she’s capable of using magic without materia or a demon contract, it’s pertinent that she knows how to release energy blockages and clear chakra points as necessary. not only that, but she can also manipulate energy from other people, in a form akin to reiki. yufi’s also aware of chi, how it flows through the body, and trained in t'ai chi ch'üan in wutai prior to starting her adventures, as evidenced through her side-quest of climbing the pagoda to heaven.

not only that, but wall market is a strategic location to gather intel & given her age, it wouldn’t be safe for her to wander freely. while she can care for chocobo sam’s birds, he has enough couriers that he doesn’t need her help; and she’s too young to become a honeybee girl ( well, there could likely be a market, but andrea rhodea is a respectable man ). more likely than not, she was recommended to join the tutelage of madam m, who would have recognized her and taken her in immediately. as such, yufi has the opportunity to hear first-hand information from business suites as she pretends to be a “ little sister ”, the “ princess of the parlor ” as it were. she refers all requests to be the don’s wife to madam m, and they are both equally disgusted by the man. she and madam m routinely talk about wutai and their disgruntled opinions about the east when they are in between clients. she is considered an apprentice, and as such, yufi does not have to work with customers, but she can practice her lessons first-hand at her whim.

yufi is not capable of adjusting her massage skills based on pay level, which is another reason why she does not work with customers typically. her skill level is somewhere between the ‘ moderate ’ and ‘ luxury ’ massage, where over prolonged physical contact she may be able to achieve the desired result of the top-tier package, but it wouldn’t be quickly, and honestly? she does not have the stomach to see someone as disgusting as the don or his men in a state of euphoria. 

finally, it is not common knowledge that yufi works at the parlor, for the following reasons: yufi does not want to be immobilized only to the parlor, she wants the freedom to travel whenever she pleases; yufi does not want to accidentally be possibly recognized by a shinra operative; and because madam m truly isn’t comfortable with hiring someone underage, so the terms of their agreement is ‘ loose ’-- where yufi is more or less sharing her company and intel as opposed to her time and talent.

[abundantchewtoys]

Homestuck^2 re: Chapter 4 “The Contest”(p119-143)

Ah, "The Contest", huh? I don't think Harry Anderson was in the bleachers watching a sporting match during his last hour at school.

It sounds innoccent, but it probably isn't. I don't suppose we'll see Callie in a drawing contest with Calliope. :P

---

Page 119

... Ah. It's the new planet. Interesting tree growths.

Is it going to be a contest racing somewhere?

Or is Dirk going to hold a contest, and who wins gets to name the planet? Kind of weak since he can just rig the contest with his powers.

I wonder if the First Guardian is already here, too. ... Then again... This session is the first outside of the Green Sun's domain! So maybe no First Guardian.

---

Page 120

That's a bigass bare mound.

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Page 122

Ace landing, Terezi. 10/10

It's like a cracked piñata. Dirk's room appears to have been near the backend of the ship.

The trio's survived, though, and now they've gone exploring. So... I suppose Dirk has captchalogued all equipment from the storage rooms.

---

Page 123

Rosebot appears to be en guard near the entrance, but what's inside the cave?

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Page 124

... Wow. Why is she en pointe, has she studied ballet over the course of the three years? :P That black tiara is unsettling. Well, so is the rest of the black outfit, but perhaps it's inspired by that Alternian battle armour which Candy Rose was wearing.

... Pffffff, Dirk. Are they just using the cave for shelter, or is this were the frog temple can be found?

... Are they going to enter the Lotus machine?

---

Page 125

Woooooow. Okay, Terezi's looking SMASHING. A lot like Latula, actually, with the hair. Lots of the characters are in to using their accentuting lines in their outfits these days, I've noted.

And yeah, Dirk just set up shop in this cave. (The prince is in.)

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Page 126

Pfffff, Terezi is just bored out of her mind. I guess she had the vague idea of serving as Dirk and Rose's consciousness, but that has turned out rather differently. Of course, she has little control over Dirk. Even her being able to have him stop calling Rose Rosebot, is just him humouring her to some extent.

Also, we get an insight what ascension is like for Rose. Still quite confusing, it appears. Then again, the process isn't finished yet for her.

I liked how the combination of the command and Dirk's first comment actually belong to be read together - in that he asked Terezi to render herself more symbolically, and she did!! Yes, her hear really looks like Latula's now.

I guess the reason she didn't succumb to drinking this time, is that Terezi isn't actually the one that caused John to die, unlike with Game Over Vriska. Though she's probably still guilt-ridden, since it was the exertion of getting her to Earth C that was the final straw.

---

Page 127

Yeah, Rose still thinks Terezi's on board with everything on some level. But Dirk's plans, even though they involve her, extend way beyond.

---

Page 128

Showoff. She isn't a fully realized Mind player, but she's still quite powerful. Ah yes, let the theories commence that the new session will contain Quest Beds for Karkat, Kanaya and Terezi. :P

Heh, the powers Dirk is showing there. They're what Brain Ghost Dirk used on Aranea, and Reload Dirk on Caliborn.

---

Page 129

Heheh, another equine didn't survive bearing down on a planet. And Dirk was involved.

I'm... Not entirely sure what just happened here.

I though Rose was alluding to Plato's Cave. And she seemed to notice the ship didn't need repairing and how odd that is. So she might be at least a little aware of his powers?

Well, at least we know now that Dirk has the same access as Dave.

And is Deltritus the name he has for the cave/planet? Though it sounds kind of like the name for a denizen.

----

Page 130

Wow. Okay.

So. Dirk wants to create something wholly new. He thinks they made a mistake in creating Earth C from "leftovers".

I notice that we have kind of an alphabetical thing going on. Alternia, Beforus, Earth C, now Deltritus.

Dirk makes a good explanation about how he can still be so flawed while being completely self-aware. Still doesn't excuse all his manipulations. He keeps her on the same page as him at all times.

So the contest is about species. This means we're going to get 2 entire new species and cultures introduced, my god. I thought we had reached a threshold somewhere, somewhen. But no. Apparently not. I guess that's the next step we're going to.

The Watchmaker analogy is actually quite fitting for Dirk... and Rose's meta-analysis for her.

Dirk's notes on Deltritus are interesting. Shows he's actually not that concerned with details after all.

Blaperile has a good point - Dirk knows a session will be spawned here, but not what race "wins" in the end. Or he makes a point of not telling for the sake of his game.

I also saw some more of Dirk's accent slipping in here, suddenly. Huh.

---

Page 131

Heh, the Sburb logo is actually in Jane's colour here, not Dirk. That will become relevant later on.

I wonder if this is how universes used to propogate in previous iterations. Gods create races, several per universe, on different planets at a time, and have all of them play Sburb.

...

Eeeuw, Dirk proposes to, like, experiment on DNA. So there isn't animal life to start from here.

In the end, what they start from is still ectobiological material, nothing from scratch.

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Page 132

... Wow. So it's the mother of all Sburb machines. The Ultimate Alchemy/Ectobiology... Thingamabob. Still, I'm reeling from the idea that they'd combine their own DNA with items. That's some Frankenstein like shit right there.

Here's to hoping all their "iterations" only exist as holograms or simulations, not real beings. That'd be cruel, otherwise. Maybe this is a moment to give some of the fan species a cameo, make them canon that way!!

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Page 133

Ah. Rose still has his number, at least. Hey there, 1025 cameo. *wave* Of course he picked one of the unseen shenanigans from when Terezi was controlling him.

---

Page 134

Ooooh, so it's what Jade was doing to create a frog that could perform the Vast Croak, but in reverse!

Alchemical biology genetic SBaHJification

Dear god. Really, they should just add JPEG artifacts and be done with it.

So yeah, it's back to combining items. The ultimate alchemy session.

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Page 135

Awww, she remembers this, even misses these simpler times of combining items. And yes, seems like an appropriate circle of stupidy goes on inside the machine.

But maybe the machine just reads the captcha's on the back of the card! ... Wild efficiency, in my Sburb session? It's more common than you think. :O

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Page 136

I fear for Dirk's first attempt. Not going to be a viable form of living at all, right? Poor thingy.

---

Page 137

Ah yes. Ecto-Alchemologize. The appropriately contrived term for what's appearing.

Dirk's manning those buttons like a DJ, like the protagonist of And It Don't Stop.

---

Page 139

Cool effect.

---

Page 140

... Yes, it's definitely a bonehead they just created.

It APPEARS to have a normal face, but yeah, it's probably a mutant, not unsimilar to the beasts that were fought on the Tower of Syndetic Ascension.

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Page 141

... Well okay, that actually looks kind of cute.

A gusher tentacle cactus. But tiny.

So it would appear Dirk's DNA just gives it life, not anything more.

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Page 142

Welp, that little guy's freaking out.

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Page 143

When we next see them, the place is going to be littered with sentient abominations. ... Actually, come to think of it, Roxy experimented a lot with Jaspers DNA as well, creating all those Mewtini clones. But they weren't sentient.

Unless Dirk didn't have the sentience switch on yet.

---

Next chapter appears to be from Terezi's perspective! But who's she going to talk... to...

She's not going to get Vriska's message NOW, is she? ... Of course she is.

Well, this is where we’ll leave things. We’ll pick the story back up in a few weeks!

[tedfashionski]

Seeing Red

I was drawing today and reminded somehow of that depressing development where the sister of David & Samantha Cameron has been appointed editor of the Evening Standard. Like, I’m looking past the implied wider corruption problems in ‘real’ journalism here, but one point she said in her announcement interview really bothered me. She said, something to the effect of ‘Oh, thank god I spent 20 years working at Vogue while David was in politics, because I am just so fond of him and I would hate to have to be critical of him. So I was safe at Vogue.’

That, right there, sums up how far fashion media is from even being able to recognise the functional role of journalism. Oh, thankfully, at Vogue we can hide from criticality and awareness of the political dimensions of the world. All the while, the fashion industry is feeding this planet-killing spirit-crushing capitalist consumerism. But, no, why would it be political? Stop making it political. It’s just clothes.

 K, I’m going to RANT a little about these digital fashion weeks we’ve just been subjected to. I’ll preface by saying, yeah, I get it, it’s hard to be creative in the thick of a pandemic. My standards have been accordingly lowered 20%. I am very generous.

 Chanel and Dior’s lack of energy was no surprise. Although, keeping in mind female designers tend to be more pragmatic as a matter of course, it’s sad the two top women are being so listless. I was pleasantly surprised by Azzaro – it gave a hint of a vibe but was sure of itself. It emphasised that there was no reason for the Chanel & Dior videos & collections to exist, no point of view. The smaller couture players like the Dutch trinity of Ronald van der Kemp, Iris van Herpen, and Viktor & Rolf were a little more canny, you got the impression they were enjoying themselves at the very least.

 Regarding men’s, I do think Rick Owens was actually well judged in its boringness – we don’t need product-based experimentation necessarily. I enjoyed the meta-narrative aspect, it seems to me a good time for that kind of subtle, slightly snide interplay of references. Yohji’s design’s really sang, the video could have worked harder, it felt thrown together and didn’t do the clothes justice. (Side note, that showstudio Yohji review video, 45 mins of failing to say anything, was what finally pushed me over the edge. Dude. Are you guys for real? ‘Where is the avant garde’? If you don’t know, give up already. I’m not even a Yohji fanbear but he deserves better.) Kiko gave us a real stab at a pscho-medieval vibe, and I would’ve written a full review about it cus there’s stuff going on there. But fuck that. If he doesn’t want to talk to us, and show his full vision to the public in a spirit of optimism and faith in the culture, why should I bother with him? Mean and snooty gatekeeping gets mean and snotty graffiti right back.

 Fashion culture (twitter, specifically) wants to be wowed by everything all the time. Then, it complains and says why is fashion week even happening during a pandemic, now isn’t the time for fashion. Another example of our schizo cognitive dissonance as we consume this shit. What do we even want?

 I’ll tell you what I want. I want fashion designers to be engaged in a collective speculative in-depth discussion of what the future feels like right now, as an artform. So, I’m not going to analyse anything as a commercial proposition, because the future features less and less buying shit. In part as I believe that with growing internet dispersal of OG systems, awareness will rise, the vocabulary will expand, and we’ll stop caring so much about the performative aspects of fashion clothing. The interiority aspect will only grow, and that means unique-feeling experiences that are like conversing with a familiar presence. The fashion designer as moot, a parasocial meta-commentator. A friend you don’t actually have to talk to, just talk with, in the culture. That process won’t start from a point of ‘buy my shit’. First, a relationship should be built up, set up and running along. Then, if product occurs it’s incidental. Wow, I’m being a real little weatherbear. Check out my prophecies!

 So, I’m pretty disappointed and depressed about the resentful undertone of much of the work presented to us. Like, they’re crossing their arms and getting all grumpy about how they’re not allowed to carry on like they always do. FFS, you’re FASHION PEOPLE. Change is the name of the game, this shit should excite you. It’s your job to guide each other in an open-ended perusal of future possibilities, and to make recommendations. It’s not just clothes, they’re the medium, the language in which you build the commentary. If all you care about is nice product (*cough*, hedi slimane, *cough* jacquemus), stop calling yourself a fashion designer, because you’re a clothing manufacturer and I don’t care about you.

 Why are all these videos so boring? Have any of these people heard of editing, rhythm? They do realise you can hire people for this kind of thing, right? The deadening lack of imagination amongst people whose full-time job it is to be creative about the present’s transition into the future is astounding. This really underlines the risks of nepotism and gatekeeping. The only people who can afford to participate are the gutless products of a bloated upper middle class. I don’t believe in that class’s creative capacities for one fucking minute. They’ve got nothing at stake, no guts to go against anything, because their boring shitty system works for them, so why should it change? Ugh, vom.

Where is the communicative power? Nothing is being said, it’s filler for an elite determined to go down with their ship. I’m glad it’s sinking, it wasn’t fit for purpose and I’ll happily stick some extra holes in to make it sink faster.

 I’m going to single out Jonathan Anderson again. Listen, he’s a little pretty boy who’s working so effectively within the system, who has played the game perfectly to the best of his ability. His work is top level, he wins every time. So, I reckon he can be held up as an example. He can take it. I’m looking at the box-shows he did for Loewe and his own brand, and I’m thinking, oh that’s such a lovely take on alt fashion communication. So much heart, and care. Then, what’s the internet equivalent? A little video showing off the box. Some 3d shots & backs of looks and boxes. A little extemporised pitter patter from Jonny. That’s it. It’s still classist as fuck. With garment design there’ll always be limits on what’s possible in terms of digital translation. This isn’t actually garment design though. It’s fashion design. If I’m stuck with a low-grade clip and some jpegs, it’s pretty clear to me you don’t care about your wider fashion community. There should be an open digital experience that feels equally cared for and crafted. And here’s where I get really angry: all these fashion journalists have been delivered this unique, beautiful experience, and what are they doing with it? Where is the thoughtful response? Every single one of these people in this privileged position should be DOING THEIR JOBS (WHICH THEY ARE PAID TO DO, FULL TIME) and WRITE ABOUT FASHION. Not post online, ‘omg lovee ittt, so cutee!’. Anyone can do that. Are you a fan or a professional? This is an embarrassment. I’m stuck analysing some pixels. You’re getting the ‘real’ experience. I know I’ll never be an insider given these opportunities. I chose this path and I’m not going to try and play that game, because the rules are: you get access, in exchange for sacrificing criticality. Because these people, as educated and privileged as they are, don’t understand the value of criticism. Good criticism, the detailed, even handed, unafraid kind, pushes the culture forward. You can’t have a healthy art form without it, it’s essential because it’s the back in the back and forth. I probably could’ve tried to play their silly PR game a bit harder. But I had a nervous breakdown, in part, because I knew I would never be allowed to get close to the art enough to analyse it fairly if I spoke freely as I do now. And freedom is essential. So, pixels it is. Rudeness it is. Because there is work to do to salvage the bottom-dwelling wreck of our fashion dreams so that maybe we can travel somewhere new and better with them. It just sucks that there’s people standing there with the tools to help and no desire to save themselves or anyone else.

[potteresque-ire]

Daenerys Stormborn, First of Her Name

Here’s my first review post on Game of Thrones! Thank you so much for asking about Daenerys, @bixgirl1, @kikibluemay and @oceaxe-ifdawn. She was fascinating and tragic, and I couldn’t really stop talking about her... as in, I ended up writing a 4k+ word essay on her character.

Due to the length, I’ve crossed-posted to AO3 for those who prefer to read it there: https://archiveofourown.org/works/19119595 . As usual, never feel obliged to do anything! Fandom is a happy, carefree place for me :) .

Before I start, I’d like to say this—I’ve never expected GoT to be progressive. Its medieval aesthetics aside, the gratuitous violence and nudity really seal the deal. Therefore, this review is written decidedly without a social justice lens; I shall not argue if the showrunners were feminists, racists, imperialists etc. Also, I haven’t read the books and have read few metas and reviews; so these are my unfiltered thoughts and of course, my personal opinion. I got interested in Game of Thrones because the snippets I knew of it reminded me of ancient Chinese history, which I loved for its twists, its very blurred lines between truths and myths, its cynical record of human nature, clever strategies and bloodshed. Along this vein, I was, and still am, the most interested in how each contender of the Iron Throne got there, and as the theme of the story emerged (“the lies we spin, our fates they weave” is my way of describing it), the things they told for motivation—the lies and truths that, should they win, would become history.

Of all the contenders and their stories, Daenerys’ rise was the most…mythical and uplifting. She was easy to root for, partly because we’re conditioned to root for heroes like her. The last descendant of a dynasty. Orphan. Exiled, abused, went through her personal journey from little better than a slave to become queen. She even birthed dragons and rode them to war. I really enjoyed the part of her story as the Khaleesi. She grew into a queen in every way, and an ideal one, by the time led her small group of followers across the desert. I loved her—she was strong, resilient, intelligent, righteous. And she understood and respected a culture that was supposedly far below her (as her brother Viserys frequently reminded everyone). 

But then came Astapor, then Yunkai, then Meereen. She became a true ruler, without a Khal by her side… 

I started feeling a little uncomfortable. I was puzzled by that. Her cause was emancipation, one I believe was absolutely correct. Her stance was uncompromising. She walked the walk. Every single one of these traits was beyond admirable, and precious among rulers. Nailing 163 slave masters for 163 children might seem brutal, but the world of GoT *was* brutal. 

And yet, something felt...off.

Then I realized: after all the screen time in Meereen, I remained very much ignorant of the place, other than it practiced slavery. Slavery—and the barbaric practices surrounding it, such as the fighting pits—was presented as the only thing that defined her new constituents in her eyes. This could be by design, to show Daenerys’ “style” as a ruler. This can also be a reflection of the showrunners’ perspectives, their disquiet about tackling slavery for a larger audience.  But if I must judge the show by its own merits and ignore the hands behind it, the repeated shots of Daenerys sitting high in the Great Pyramid, she and her advisors donned in their foreign attire, telling the locals who looked nothing like them, over and over again, that they were wrong… 

She looked like a coloniser. My radars were beeping for that reason. I grew up in a colony, a well cared for one (ie, it would’ve fared far worse if it hadn’t been colonised). Colonialism is therefore an integral part of my life, and my views of it are coloured and educated by the experience. Controversial point: far from a general rule, but I recognise that colonizers can do great good. I’m a beneficiary of that myself. However, I’ve also learned that there’s an art to bringing these great goods to the colonised. One lesson: defining these people, especially when they’re foreign to the ruler, with anything that the ruler is seeking to eradicate — a habit, a tradition, a set of beliefs… —is not a recipe for success. It’s a matter of human pride—the pride of, in this case, the people who’d just suffered defeat. The former ruling class needs to feel some respect, which translates to a sense of security, for any transition of power to be smooth. One may say, the slave masters deserved neither pride nor respect nor security; this is very true, but there was a very practical consideration, one that Daenerys acknowledged: the ultimate goal of conquest is to rule. An un-governable colony won’t change for the better, because it won’t remain a colony for long. In Meereen, as in many real-world colonies, colonisers were few and their constituents were many. Revolts would favour the latter, in particular, the former ruling class who often had both financial and geographical advantages. The Sons of Harpy’s revolt did address that, albeit weakly.

No, I don’t mean Daenerys should yield on the issue of slavery. Lives were at stake and the emancipation had to be immediate. But then, merely insisting this was the right thing to do and punishing offenders with increasing severity, while reinforcing the segregation between the ruling class and the ruled (Daenerys pretty much sequestered herself in the Great Pyramid), was not a direction to take to render the emancipation permanent. Daenerys had to be out there. She had to make serious effort to find common grounds in the 3-way between herself, the former slaves and former slave owners, especially after she’d removed one of the pillars of Meereen’s sociopolitical structure. It didn't matter that the latter were despicable; she had to find a connection. And being a nation that had stood thousands of years, with its wealth and fine architecture, Meereen had got to have something benign and beautiful that Queen Daenerys could embrace, that she could use as a bridge to endear her to her constituents and at the same time, de-emphasize the role of slavery in defining what Meereen was. Wear their clothes. Visit the temples. Whether she actually believed in their gods didn’t matter. Join their festivities—if she did it enough it would matter much less if she skipped the fighting pits. Go to their Flea’s Bottom equivalent (as Margaery Tyrell did in King’s Landing; she would’ve made a good colonial governor). Talk to their craftsman and ask about their traditional crafts. Never for once did Daenerys consider these strategies. She could’ve used Tyrion as her ambassador—his stature and broken language skills, if utilized correctly, could loosen people’s defense, and the parties he’d attend would give him access to the good wines he craved and the setting for him to establish alliances with small talks. If governing foreign lands is indeed an art form, Daenerys didn’t pursue it in Meereen, even though from her time with the Dothrakis, it seemed unlikely that she was ignorant of its necessity (She did eat a horse heart for her Khal and her unborn child).

Again, assuming that the writers were merely following GRRM’s guideposts on her character arc, I had to contend with these possibilities that inform me about Daenerys the Ruler: 1) somewhere in her journey in Essos, she’d lost her ability to empathize with the cultures under her rule. This seemed unlikely. Or, 2) she no longer felt the need to do it, her power no longer derived from a Khal. Either way, with Westeros also being foreign to Daenerys, I started to wonder the kind of ruler she would end up being … 

… and it looked rather similar to the Daenerys in her final scenes, asserting that her moral compass should make the entire Westeros bent their knees. I started to wonder if the show intended this to be a good or bad thing, or something more nuanced, as it should be. My hopes weren’t high—after all, our own western world still retains much of its colonial sensibilities, which would’ve (rightly) praised Daenerys’ role as a Liberator, but would also (sub)consciously downplay her … colonising tendencies. 

Does it mean I see Daenerys as a bad person, or going mad? Not at all. Conflating character and ability to rule is, IMO, one of the major weaknesses of her ending (more on that later); it was also, perhaps ironically, Daenerys’ own fatal mistake. My question is merely one about her fitness to rule, which is itself a fluid thing. War-time rulers require different skills compared to peace-time rulers, conquerors to defenders. The serious contenders of the Iron Throne each had their own strengths, some better suited for rulership and some better for rulership at different times. Stannis was a strong general but was too easily swayed as a ruler. Daenerys was a conqueror. Jon Snow was a diplomat. 

One thing, however, is true and consistent in the world of GoT: to gain power, being morally righteous is not enough. Ned Stark’s detached head brought this point across all too well. Rulers win the hearts of their people. Not the brains, not the logic that decides what is right or wrong. Humans are inherently passionate about power, whether it’s theirs to own or not.

And this is, perhaps, Daenerys Stormborn’s greatest tragedy. She assumed her strict moral compass, along with her birthright and strong will, would be sufficient to take her to the Iron Throne. Her dragons further misguided her in that regard—punishments by Dracarys lent an extra mythical weight and poetry to her judgments, as if she had a higher power, like God, on her side. When she asked Jon Snow if she was to rule with love or fear, she asked as if the two were a dichotomy, seemingly blind to the fact that she had always treaded the line between the two. Love got her the Unsullied, the talents who came far and wide to advise her; fear got her the Dothrakis, the fragile peace in Essos. 

If you’ve read till here (thank you), you may assume I’d defend Daenerys’ decision to burn King’s Landing, or suggest it was foreshadowed. I’d say this: I find it to be within the realms of possibility, but only given my personal opinion about her rule in Meereen. I don’t see it as a botched coin-flip by the Gods, because nothing in her prior judgment suggested madness. Yes, she’d ignored advice before, but no more than, say, Robert Baratheon or Joffrey (Cersei simply killed those who gave her advice she didn’t like). Daenerys’ decision to march to King’s Landing immediately after the Battle of Winterfell—the last major decision she made before the sacking—might not be wise to some but was logically sound. I’d also venture to say this, perhaps in defence of the show’s writers: I’m also not quite sure if the show intended her decision to be a proof of madness. 

Because I’m not sure if the madness told in this show was real at all. 

Because curiously, while the coin flip had been mentioned several times, the show never offered us any concrete, visual evidence that Daenerys had suffered a loss of reason, which defines madness for us who live on Earth in the 21st century. The destruction of King’s Landing was portrayed at the ground level; we didn’t exactly see Daenerys cackling, or enjoying the carnage. Making a terrible decision does not a mad person make. She was seen to be sure of herself in her final scene with Jon Snow—but why shouldn’t she be, when she’d just emerged victorious and achieved her life’s goal, her revenge? If cockiness had been the mark of madness, half of the characters in the show would’ve been mad. 

Even more curious to me is this: people like Ramsey or Joffrey or Cersei, who’d done seriously mad things in our perspective, were never once described as “mad”. The adjective “Mad” had always been reserved for the Mad King. 

How was the Mad King mad then? This is important, because Daenerys supposedly inherited his madness. But the audience hadn’t been given much information. We know The Mad King killed his dissidents, but that seemed to fall within standard monarch behaviour. We know he and his advisors—including, notably, Varys—were at increasing odds with each other, but put a bunch of power-hungry men with immense power imbalance in the same room and that would happen more likely than not. He killed Ned Stark’s father and brother in a confrontation—so he was vengeful, distrustful, and brutal, yes, just like Joffrey or Cersei, but still, nothing that spoke particularly of madness. He was said to want King’s Landing destroyed, but the act was never realized; we only learned of his intentions via Jaimie. He set up the network of wildfires, which were terrible weapons but also … traditional in the Targaryen dynasty, if wildfires had indeed been invented as replacements of Dracarys. So how mad was actually the Mad King then, compared to his ancestors? Or was he called Mad only because he lost his game of thrones, and history was written by victors? When Varys claimed to be worried about Daenerys’ state—when he hinted at her madness and being a bad coin flip—was he merely repeating the same lies that had been told about her father, with the purpose of setting up a chain reaction that would propel Jon Snow to the Iron Throne, as the same lies had helped justify and cement Robert Baratheon’s reign? Varys might have been trying to feed Daenerys something. A “crazy potion”, maybe?  

Yes, I know. I’m probably reading too much into this. It’s my wishful thinking, perhaps, to not see Daenerys as mad (or the writers writing her as mad) because that would’ve taken away her agency. Because Daenerys’ character arc doesn’t deserve an ending equivalent to death by a falling flowerpot. Because, if her sacking of King’s Landing was meant to be the Shock of Season 8, she must retain her agency. It’s shocking because a good person did it. A good person is good only when she has the agency to make terrible mistakes.

So how am I reading Daenerys’ decision to sack King’s Landing? If I were to ignore all inputs outside the show—I don’t know if the showrunners had commented on anything—this is how I would “bridge the gap”, so to speak; how I’d imagine the thoughts running through Daenery’s mind as the bells rang, behind the few seconds the camera focused on Emilia Clark’s face in the show. I believe the series of tragedies Daenerys had suffered (losing Jorah, Missandei, a dragon son) had only made her more determined to wipe out, as Greyworm told Jon, everyone who’d served Cersei. But while this sounded like a simple task, carrying it out was much more complicated. Cersei’s armies were dispersed all over the city; they could easily remove their armour and feign innocence. Moreover, every resident in King’s Landing could be seen as an accomplice to Cersei’s reign; even the people in Flea’s Bottom, like Gendry, used to make weapons for the Lannisters. Were they to be wiped out as well? If not, where to draw the line? This order nonetheless confirmed Daenerys’ world view that the morally corrupt should perish without mercy, and Cersei was, indeed, corruption defined. Daenerys had seen Cersei’s treachery herself, and the sheer scale of it must be as foreign to her as Westeros itself. Her closest friends and followers, Greyworm and Missandei, didn’t even know how to tell a joke—the smallest, most benign form of treachery. Daenerys knew what treachery was, of course, she’d suffered greatly from it, but treachery in the game of thrones was a different beast and she wasn’t yet equipped to handle it, to make correct assessments of the kind of behaviours it’d instigate—unlike Cersei and Tyrion, who as Lannisters had been breathing it in since birth, or Varys, who’d been both an observer of multiple reigns and a ruthless Kingmaker himself. King’s Landing, the city itself, had also signified little but treachery to Daenerys—her father had been murdered there by someone who’d sworn to protect him; men had been sent from there to murder her since she’d been born. 

While Tyrion had told said that Cersei’s armies were serving only out of fear, Daenerys, who’d only had the most faithful / honest armies, the Unsullies and Dothrakis, probably couldn’t truly appreciate what that meant. She had every cause to be terrified then when the bells rang, especially when they rang so early, without her or her army and allies even close to the Red Keep. Ironically, perhaps, her own moral righteousness became her blind spot; she might have assumed Cersei’s forces had something far more sinister waiting for her—because how could they abandon their duties, their queen so easily?

And if they did abandon their duties and their queen so easily, what would stop them from committing the same treachery when Daenerys becomes queen herself? How could she vet the innocent and the treacherous and if she couldn’t—and she couldn’t, not with one dragon, a small army and no geographical advantage—what could she do? What could she do, when she was Daenerys Stormborn, who would never compromise to treachery?

I can see her feeling cornered. I can see her feeling she was left with one option: take the innocents out with the treachery. Do it like removing a tumour. Cut out a ring of good flesh around the bad. 

The ring of good flesh was King’s Landing.

Plausible? Maybe? That tragically, both the rise and fall of Daenerys Targaryen could be attributed to her moral code? That she didn’t lose this game of thrones because she was evil, but because war and politics have always been amoral and she was a misfit? People in Westeros change allegiance all the time; morals are fluid and carry a price tag. Appropriately then, the man who understood and lived by these rules, whose loyalty could always be bought—Bronn—was also the biggest winner of this game of thrones.

I’d say this though:  a plot point as significant, and as close to the finale as the sacking of King’s Landing, shouldn’t require the audience twisting their minds into pretzels to make it feel plausible, and my brain feels a bit pretzly at a moment. No matter what the writers intended, there remained too many holes for the watchers to fill with their imagination. I’ve read some who said the final season was too rushed; I’m not sure that was the issue. The issue, I think, is that even if given enough screen time, the writers didn’t quite know how to drive the characters without the books’ guidance—an issue that had become apparent by Season 6. The last three seasons felt…derivative, like fanfics of the first four. This isn’t a slight (well, not a big one)—Benioff and Weiss had managed what GRRM hasn’t been able to—but I felt a sense that their visions of the world had evolved to conflict with GRRM’s over the course of the show. Meanwhile, they still needed to hit the goal posts GRRM provided, while they wanted to focus on / believe in something else. The result was the later seasons that felt …schizophrenic at times. GoT had highly implausible moments since Season 1, but the first four seasons sold them because the showrunners believed in them. S8 Ep5&6, meanwhile, offered enough for me to logically agree that the sacking of King’s Landing and Daenerys’ downfall can be canon, but not enough for me to believe emotionally because…I didn’t feel the showrunners believed in them. The events felt written to serve a purpose other than storytelling—maybe to match GRRM’s notes, or satisfy the perceived need to shock; in all cases, I felt the hearts of the writers were somewhere else, somewhere perhaps more spectacular than dissecting the motivations of a fallen queen. The shift towards visual storytelling in the later seasons, perhaps to mitigate the difficulty of writing dialogues for an ensemble of deeply complex and intertwined characters, furthered exposed the incoherence of the show’s focus. While I love the visuals, GoT had its origins as a political show and politics is 99% talk. Similarly, the increased reliance on the actors to convey their characters via facial expressions and body language might work for someone like Brienne, who was taciturn and largely consistent personality wise, but insufficient for characters who used talking as a weapon (Tyrion) or underwent major transformations (Daenerys). 

Anyway, back to Dany. If there was one thing I truly, truly dislike about the close of her story arc, it was the very end, when Jon Snow drove that dagger into her. Painfully cliche aside (I’ll leave Cersei’s baby to another day), it also unfairly cemented Daenery’s highly un-rightful place as the villain of the story, given that Jon Snow, the uncontested Good Human of the show, committed the murder. The show pitted two sympathetic characters against each other just to let one … leech the sympathy out of the other, when neither of their characters deserved the treatment (yes, I found this decision to be as unfair to Jon Snow as it was to Daenerys). As much as I had reservations about Daenery’s ability to govern, I never doubted the heart that Jon stabbed, the desire in it to do good for the people. Yes, I said it isn’t enough, and yes, I believe that too inflexible a moral code forcibly imposed upon others can do great damage, but this is very different from saying that Daenerys Stormborn was a villain. Conflating character and ability is human, but I expected this show to know enough nuance to avoid this mistake. Having the heart, the desire to rule well, is a start. A great and important start. A start seen in few others in the whole series. The early seasons of GoT were particularly strong in depicting characters in the grey but Daenerys, sadly, was robbed of that; she swung violently from white to black.

And what was so disappointing is that it needn’t be that way. Daenerys could have caused the destruction to King’s Landing and still be sympathetic. Queen Cersei was still in the Red Keep, and the Wildfires buried by the Mad King remained all over the city. Innocents die in wars, there’s never an exception to that, even if the wars are waged with the best intentions. I’m no show writer, but this is what I could come up with to spare Daenery’s fate as a villain after a few walking trips around my city, while keeping most major plot points intact. Show writers can do (much) better. 

Just for the fun of it, below is the alternative ending for Daenerys I came up with, and I will end my very, very long thesis here :) . Thank you so, so much for reading! ❤️❤️❤️

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1) Start of the episode. Qyburn teaching his little birds a nursery rhyme about a Mad King and his Wildfires, and an Evil Queen who will set them all burning. He tells them to sing far and wide. (This is just an excuse to get another song from Ramin Djawadi)

2) Long shots of combustibles being laid in the same tunnels Lancel Lannister crawled through back in Season 6 Ep 10, before the explosion of the Sept of Baelor. That 10-minute sequence was so classic that the audience would likely remember the place. Piles of wood connect the stores of barrels that we know contain the Wildfires. Black tar flows down the sewers of the Red Keep, down the alleys in Flea Bottom, slicking everything, staining the innocents there with (Queen Cersei’s) muck. This sequence can be done entirely through visuals.

3) The Bell rings. Daenerys attacks the Red Keep with Dracarys. The tar and wood catch fire and carry the flames to the Wildfires around the city. As Wildfire is Dracarys’ substitute, the two augments each other and the city soon turns into an Inferno. Daenerys watches, horrified and unable to do a thing. The nursery rhyme becomes a prophecy: as much as a Lannister laid the grounds, the Targaryens are solely responsible for the King’s Landing destruction. Woods and tar are, after all, harmless without fire. And Daenerys Stormborn, who swore to protect and liberate the weak, ends up killing more innocents than Cersei ever had. 

4) Tyrion advises Daenerys that for now, she has no choice but to rule by fear. A reign cannot start with apologies, and what good will it do? So Daenerys gives the same speech to her armies on the steps of the ruined Red Keep, but noticeably distraught.

5) Daenerys must also restrain Drogon. She can’t afford him accidentally setting more fires in the city, while her armies scour every tunnel to make sure all Wildfires have been consumed. So the Breaker of Chains is forced to chain down her son, the symbol of her power.

6) Drogon, being intelligent but still a beast, maims Daenerys badly in his struggle to be free. Jon finds Daenerys, but she’s beyond saving. She tells Jon to keep what he saw secret, and if he can’t—she knows he can’t—to please lie for her, for once, that Drogon did it to avenge for the innocents she killed; that Drogon, and their family name he represents, knows justice above the fire and blood. When honest Jon reacts…honestly, she asks him to ask Tyrion for advice. She struggles to stand, says she wants to try the Iron Throne before she goes. She refuses Jon’s help; she walks, head high, blood trailing like a cape behind her, as she crosses the ruins. She won’t make it. Only her finger will get to touch the Iron Throne, as in her prophecy in the House of the Undying. Jon kneels behind her as she falls on her own knees. She will always be his queen. Drogon carries her away.

7) The waiting period can be a mourning period for all who have perished. Tyrion will still recommend Bran to be their King, as his proposal will be accepted as he remains the Hand. Jon would’ve asked Tyrion about the lying, and the issue can be brought up when “A Song of Ice and Fire” is presented in the small council. King Bran can then offer his wisdom as the Three-Eyed Raven, the Living History. What does he think, when he sees both the truth in history and the lies and prophecies told about it, that propel it? Does he approve of them? Disapprove? This will also wrap up the theme of the show, about the stories that make history, the history that makes us. Ser Davos can ask about the legend of Azor Ahai that cost Stannis Baratheon everything. Is it true? Does it matter? Also, how many swords actually make up the Iron Throne? Thousands, as the legends and Daenarys had believed? No more than two hundred, as Little Finger said in Season One? How many more swords have been buried for these thousands or hundreds?

[webcricket]

Looking Glass

Chapter 24 - Heaven is a Place on Earth

Pairing: CastielXAU!Reader

Word Count: 1611

Summary: The seraph and his love settle into the relative normalcy of life in the bunker - how long will the honeymoon last? Warning for a suggestively erotic non-explicit adult situation. One more chapter remains before we bid adieu. Parting is such sweet sorrow.

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Staring into the two by two crate repurposed as luggage overflowing with stuff set on the end of the bed, the surge of a smile crests your cheeks. The gladness arises not from the realization the relatively small container holds more superfluous crap than you’ve owned in years – most of the items totally unnecessary for basic survival and impractical for travelling light – it’s the notion of putting down roots, calling somewhere home, and having the comfort of someone with which to share the physical and emotional space such a home represents that draws out the manifestation of pure delight.

Grasp sliding along the sides of the wooden box to lock into the notched handles, ginger on the roughened surface to avoid splinters, you drift a final glimpse around the stripped bunker room where you first woke up in this strange and wonderful world – the very same day you met a seraph who challenged your beliefs about celestial beings and whose kindness and persistent, although not always patient, concern changed everything.

It was Cas’ idea, moving in – air quotes implicit – with him. Practically speaking, since you spend whatever free time you have together, well, together, the proposal made sense; especially considering other refugees live crammed into storage cells sleeping on stacks of dusty file folders in lieu of mattresses and stowing their sundries on shelves lined with lore books in languages too ancient to comprehend.

“Oh, uh, sorry-” a voice pitched to tinny heights by nerves meekly announces itself from the shadow of the hall door standing ajar.

Your glance shifts to a girl burdened beneath a backpack and shrouded in stained jeans and a tattered olive-colored jacket ringed by a dingy faux-fur collar. You recognize the youthful porcelain features and furtively darting eyes of the young woman and smile warmly. “Hi, Maggie. Come on in.”

In an undertaking of momentous effort given the weight strapped to her shoulders, she strains a step inward and bends, nearly buckling to the floor with it as the backpack lands inside the threshold with a dense thud. Evidently she never caught on to the adage of packing light. Nevertheless, she survived. “Sam said this room would be open in the afternoon-” She peers at a non-existent watch on her wrist, rubs the bare flesh in self-conscious habit, and hides the whole hand in her pocket. “I-I guess I’m a little early.”

“Right on time,” you reassure. Without the fallout filtered shine of the sun, you’re not yet used to reckoning time here in the artificially-lit depths of the bunker either. “I was just clearing out.” Focus flitting to the hole in her pocket where her buried fingers fidget, you remember a magenta jacket worn once mixed in amidst your surplus bounty of belongings. “Hey, I have something you might like.” Rifling through the box, you yank out the article and toss it in her direction.

She dives to catch the fabric projectile, strokes the satiny finish, admires the color, and stares up at you; an unuttered – Are you sure? – glimmers in her wide-eyed gaze.

“I don’t really need two coats, you know?”  You resettle the rumpled contents of the crate. “And the color compliments you.”

“Thank you!” She beams; the gift, along with the compliment, opens the proverbial floodgates of sociability. “You’re with the angel, right?”

Right. The skin on your nape crawls – the bunker’s a tiny place these days with so many people occupying it and every single one of them damn well knows you’re with the angel. Sam made it a point to involve you in aiding the other survivors as they adapt to this world in order to break down the barriers of your angelic intimacy inhibiting them from trusting you. You get it – once upon a time you thought all angels were dicks, too. Defensive instinct kicks in at her comment. “His name is Castiel.” You direct the grit of the answer into the tenseness of the fists grabbing the edges of the box. A sliver punctures your pinky.

She looks at her feet, blushing, apologetic. “I didn’t mean-” she mumbles, meets your eyes to express sincerity– “I meant, what’s it like? Being with-”

“An angel?” you finish the query, biting the inside of your lower lip in self-recrimination for getting riled over the friendly conversation of a curious and grateful girl. “Sorry, I just … I’ve heard some of what the others say about us. He’s a good guy and what we have, it feels really … normal.”

“Normal-” She smiles, irises wistfully glazing and rolling upward in reflection– “that sounds nice.”

Heaving the box up to balance on the slope of your hip, you clasp her arm commiseratively as you shimmy past, ignoring the shard of wood stinging your skin. “I’ve learned anything is possible in this world. You can have that now, too – normal, nice. It’s safe here. I promise.”

“Safe.” She mouths the word, swallows the syllable in wonderment as you disappear into the hallway. Spinning to study the barren beige walls of the room, seeing possibilities in the blank canvas, bending to pick up her pack and drag it toward the dresser, she says the word again, imbuing the sound with confidence of truth. Of belief. “Safe.”

Perception perked, smile snagged at the corner of his mouth, Cas follows the sweetly noted treasure of a song to the yawning entryway of his quarters; his, he reminds himself, and as of today, yours, too. He stops to watch your figure swaying in front of the dresser, humming an unidentifiable and melodic tune as you fold pieces of clothing and tuck them into the drawers.

With you inhabiting the space, the light of the room glows significantly warmer; the cold décor seems somehow cozier. The room was never one he sought out before, never a place he felt a particular connection to aside from the fact Dean deemed number 15 as officially in angelic possession when it became clear the heavenly dispossessed being had unofficially blessed the bunker as his official home base; Dean happened to be half in the bag drunk that night and the bestowment of the bedroom may have been purely so the hammered hunter could slur some smirked joke about an Inception-style movie meta of an occupied vessel occupying a room.

The muffled shutting of the top drawer and scrape asunder of the one below tugs Cas into the present. He worried asking you to stay with him so early in your relationship might be perceived as presumptuous on his part. This world may be novel to you, but as an angel the navigational nuances of a loving liaison exist in a land foreign to him – one discovered, explored, and mapped out piece by piece with every moment you share. There’s no doubt in his heart and mind he loves you; and yet, he is also learning how to love you day by day.

Heeding to the guidance of the naturally arising – albeit frequently hedonistic in origin – impulses afflicting his vessel when in your presence has proven useful. He succumbs to one such an urge now, treading noiselessly across the threshold to slot his body against yours; skimming his hands over your stomach, he sinks his stubbly chin to your neck to stamp a kiss upon the delicate skin. “How was your day, my love?”

Laughter of surprise lilting your tongue, folded tee held aloft in your fingers tumbling to the floor, you relax into his rigid physique and stretch your neck to give his ticklish affections ample and unrestricted access. “Good – great, now that you’re here. How’d it go with the ghoul?”

He groans, a vibration of breath ghosting your ear.

“That good, huh?” you tease. In the mirror mounted above the dresser, you observe him nuzzle the sensitive spot below your ear until, lashes lowering in delight, you shudder and squirm, weak-kneed with a knot of anticipation forming in your belly.

They – he, Sam, and Dean in a tag-team trio – have tried to set a routine of hunting to keep Jack distracted, to train those of the refugees who are willing to fight a different foe. No one is talking about the impossibility of returning to the apocalypse world to take Michael to task. Deep down, for all the speeches and good intentions, no one really wants to go back; and without an archangel, that door is mercifully closed.

When he lets up in his worshipful ministrations, your eyelids flutter open to meet the eclipsed blue of his reflected gaze. “I missed you, angel.”

“I missed you, too.” His fingertips test the heated waters of flesh beneath the hem of your shirt, sparking grace where they caress and a blissful aching in your nethers. “I heard you praying – perceived your longing.” The digits wander below your navel, lifting the elastic band of your shorts to stray further still. “Those prayers – they’re inappropriate as far as holy entreaties go, don’t you think?” Arching a brow, the smile brimming to scrunch his eyes and nose tells you he enjoyed every licentious word.

“Yes, Cas,” you purr, less acknowledgment of impiousness, more yearning. Fingers wrap the seraph’s wrist and push his pursuit of your pleasure permissively toward its goal.

“Dean found another case,” he murmurs and nips at the shell of your earlobe, “we leave in a few hours.”

“So soon?” You gasp the last word, thighs trembling as his fingers and their tingling grace glide home to sheath your senses from all but the seraph’s touch.

He groans again into your neck, softly speaks in a gravelly choked cadence you’ve come to comprehend is Enochian. You don’t know the precise meaning; you can guess.

Next: Ch. 25 - Corollaries

[spacedimentio]

Save the Light Impressions

I recently became interested in what Hessonite’s deal was and since it’ll be a long time before I’ll be able to get the game, I decided to just watch a cutscene compilation (this one, if it matters: https://www.youtube.com/watch?v=jy5tOb3gzLY). Dunno why I’m taking down all my reactions, just cause it’s fun I guess. Enjoy

RIP Car Wash

What even is the prism? It's not a gem, right? But it's clearly got conscious thought, even Hessonite talks to it like a person

haha Greg called her a glittery space lady, accurate

it's a little OOC that Greg wanted to come along. at least he's having fun tho. aww, steven's so proud of him :D

actually, what's Hessonite even doing. Why didn't she fuck off back to space once she found the prism

yeah that's totally not a triforce with six arms or anything. it's not the diamond authority symbol either i don't think, the triangles in that all meet in the middle

Mayor of Bummertown

I would have named the boss Dave, zero hesitation

"Our prism is in another castle!" i love you steb

oh no, bad memory time at Bismuth's forge :( I hope she'll be playable in the next one (i would scream forever if there was a playable diamond)

did Steven really just answer the phone with Myello? Oh IT'S PERI. Aaaand we're learning about RPG mechanics. Meta.

frozen donuts are a thing?! :o

it's her. the square. she seems to be almost identical to how our peridot used to be, so i wonder what the difference in personality is. Aside from her favorite insult being pebble instead of clod

ah yes, ye old tennis match

man i love that you can form fusions in this game

oh lord, i don't wanna imagine what chaos would happen with two peridots. also Greg is taking ice damage during the cutscene, help him

oh no, they're meeting. of course the first thing Squaridot says is "WHY ARE YOU NAKED" (and they obvs flipped her sprite cause the gem's her other eye now)

hey look, new insults for my list of gem related curse words

weird, angry mirror indeed. imagine what they could do if they were friends!

oh RIP. why do you get to choose who murders Squaridot. I hope for more multi-peridot action in the future

wait, what machine did you rip that off of and when

i already knew Peri was playable but it's still cool. i love how she flutters her feet when she jumps! i wonder who the DLC character is going to be (lapis, probably. Bismuth would be metal, though)

"Clod-Who-Shall-Not-Be-Named" oh my god i love you

"Whatchu talkin' bout Peri" the best, they're the best

Oh so wow, Hessonite is THE Hessonite, huh. Real famous. If she came out as a Crystal Gem, it would sure cause a stir

Yeah I was also wondering why she's sticking around instead of just leaving? and she is kind of leaving her troops scattered all over the place with no rhyme or reason

these are great names. The Great and Terrible Spikey McSpikeball! of course the guy playing picked the most boring one

i love how Peridot just fucking yeets her tablet to attack

sugilite tiny!

you know, i was gonna get this game anyway at some point, but it's nice to know that it's the kind of rpg i like, one where you can participate in the attacking and blocking process.

how dare you switch out peridot for pearl. you know what, next game i hope you can be everyone all the time cause there's too many good characters to pick from

whatchu doing up here pizza lady

yeah they just...all ran right in front of her directly in her line of vision and she didn't see them somehow

oh the prism is resisting. it really took Steven's words to heart last game

Hess my dear, is this prism your only friend (oh my god that's totally it isn't it)

is the wiki sure she can't teleport cause holy fuck is she fast

"Gugh, Peridot, this is just like when we tried to hunt you down. But worse...cause, y'know, she's actually threatening." rude

huh. i don't remember the pyramid temple blowing up and leaving debris, i thought the whole thing disintegrated cause it was a construct of the gem it was housing. looking at screenshots of Serious Steven it definitely did explode

are they really trying to tell me there was a pyramid under the pyramid and no one noticed

call it the Spooky Basement! call it the Spooky Basement! you disappoint me, player, although Secret Temple of Secrets isn't so bad

*steven rolls cheerfully through a skeleton and then everyone jumps down a big hole* um

yo there's a mural of Rose fighting some light warriors! that's rad as shit!

*gets to the hallway with the torches that turn on as you go by* gee i sure wish i could watch this with sound, but alas i am recovering from ear fatigue and it would be a bad idea.

oh my god he reset her preferences no wonder she's pissed XD

HOLY FUCKING CHRIST RIP AMETHYST AND PERIDOT GODDAMN AND GARNET TOO PIZZA LADY STRONK

wow she really is a genuine threat, she forced Rose and Pearl to give ground back in the day

oh no you did not just say that Pearl should come with you. fuck her up, P!

also i just realized that she is really tall. like 10 feet tall at least

aw no fair you can't just flashbang them all you dink

oh it's sapphire. wait has connie even met ruby and sapphire in the show? did we not get to see it?!

where the fuck even are you guys, i could swear that connie and greg fell off the platform into the abyss

wait, they don't have new forms, did they even regenerate? i don't think connie was out cold for that long. did they even poof? i saw colored clouds of dust but no gemstones. i mean, i know this is a game and all but it's also canon so ???

and peridot is breaking the fourth wall by commenting how you can't force her to sit at home at the moment

ancient thingamajig. wow is thingamajig a real word, my spellcheck is not yelling at me about it

yeah connie! kick her ass for me!

since when are gems into riddles. i wonder if anyone has made much headway into translating the written gem language yet, last i heard they hadn't made much progress. apparently only Steven Sugar knows what all the symbols mean

wait steven was watching connie and greg's parties running around that whole time? i guess even the game never leaves steven's POV. where even is he, in the prism realm? oh, the place was turning pink for a minute until he went towards the sparkly thing

steven is always accessing memories isn't he. at least these aren't his mom's this time

you might be getting sick of her steve but i'm sure not!

from far away it really looks like she's chillin' with a martini glass and i was about to scream

corruption beam :(

was he just like passed out on the floor somewhere hallucinating

aww, he picks up the light steven exp by hugging it :o

"Just feeling a little...light headed." i...puns?

the Light Warrior is the final boss of the first game right? ...i should have probably watched a video about that one first

oh i just had a thought! if they make a third one then we get to have Rainbow 2.0 and Sunstone and Obsidian in it! :D

woah, trippy. tbh steven's connection to the prism is kind of strange. i wanna know exactly where that thing came from and why it's so deeply connected to him now. did Hessonite have visions like this when it was hers?

yeah that's... if a place is connected by warp pad, wouldn't it be easy to find by just warping randomly? unless separate warp networks are a thing but still, you'd just have to sneak onto a CG warp pad and go. ....how do warps even work, they can go through roofs and stuff and there's like this whole other dimension with all the warps like stars in the background and ???

how does the forge even do an upgrade with no Bismuth. maybe i should stop trying to fit this into canon details

what makes you think Hessonite could see you? is this some Voldemort Harry Potter connection shit. is that actually how she found the forge, this game ain't explain much

oh that's...that's a big oof. bismuth was working on a huge-ass statue of Rose before they got into their argument

"i saw her again" what no you didn't, that was just a white screen with a text box

"Beats me how any of this whacky prism stuff works!" ...i feel called out

why does that bigger spaceship look like a funky piece of headwear to me

well, at least it's closer than the moon

oh what, Lion didn't come with you? didn't you need multiple roar warps to get to space last time, just above the earth still seems kind of far, also how did he know the coordinates of the ship, he could have easily sent them all into the void

?! and then he's there?!? already asleep? how???????

aww what you're going to tease me with a citrine guard but not let me see her?

freaky. strangely organic looking technology is nothing new but i don't think i've seen stuff oozing through it before

"Look at you, acting as though you have the moral high ground!" *shakes fist angrily* She's like Emerald, but better! I can't

i guess he did kind of steal it, but it was more like finders keepers really

whuh has the prism always been able to talk?

"a Prism" oh no are there more? probably

woah that's a big boy. What the heck does Spectral Conclusion mean. and the prism is inside it instead of it being a separate creation, interesting

aww, it's looking at itself in confusion. Steven reaches out to it with his words, as he does

the prism isn't really...doing a lot of attacking (cause the player is picking the right choices probably). oh nevermind, it has a hugely damaging rainbow cannon

/r/murderedbywords, except in a good way

"Destroy Steven!" huh since when does she know his name? she could have gotten it from several places, really

oh oh oh! it's pizza time! standing in the middle of them is probably not the best idea, but look at her, she's exuding confidence!

wait wait wait, when the player used a healing move, did i just see an option to heal the prism? or at least, it's health bar showed up. is it gonna help later?

can i have like, a full sprite sheet for Hessonite please and thanks

if this was in the show, steven would be dead from that hit

aaand Steven did two points of damage with his shield bash, she ain't even flinch

pearl what are you doing

wow, she also only did a few points of damage

is Hess like, super tough. i love how much of a threat she is, cause most Homeworld gems we've seen aren't all that scary

oh! oh! you can heal the prism! that's probably how you damage her cause you'd be here forever chipping away otherwise

HOLY FUCK, SHE JUST DID 270 POINTS OF DAMAGE, THAT'S LITERALLY ALL OF SUGILITE'S HEALTH. I know the wiki says that attack does massive damage but jeezus!

so far the prism hasn't done anything, they're just chipping away at her slowly

oh, so gems do poof in this game. i guess we're just ignoring new forms because it wouldn't make sense in the timeline if we didn't

huh, does pearl inflict burns in this game? oh and she shoots fireballs, guess that answers my question.

it's kind of sad that the status is doing more damage than everyone else combined

whuh, she just attacked the prism! RUDE.

stop beating up the prism you degenerate! i guess i shouldn't be shocked

hey, Garnet and Amethyst are alive again. ah finally, some damage now that Garnet's lowered her defense

A-Amethyst, you're facing the wrong way. i wish Hess had targeted her with her big attack, then i could have made an "oh no she has airpods in" joke

oh, but the player formed Smoky, so she's not even aiming at anyone in particular anymore lol. she went for Pearl tho, fuckin' eviscerated

is this battle normally this long, it's been almost 10 minutes

this battle would probably be much harder if she didn't waste her turn being a bitch and attacking the prism. gee, and you wonder why it doesn't want to listen to you after encountering steven's kindness. i wonder...what would happen if you let the prism's HP get to zero? it would take a long ass time but...now i really wanna know but i doubt there’s any videos about it!

garnet's rocket fist did damage to the prism cause Hess is standing next to it. c-can you attack the prism, is that how you get the bad ending??

man, they haven't even had to heal because she's just beaten up on that poor thing for the past 10 turns. i mean, really, she could easily murder all of them in a heartbeat if she wanted

ok finally, she is defeato. I'd feel more sad for you if you didn't abuse your subordinates (definitely has detracted from my liking of her, i won't be too hard on her for it though because Homeworld is bad like that and she doesn't know better). at least you’re good at eating your humble pie without complaint

oh, i guess you get to choose your ending? it's kind of weird that it's not like, influenced by your game choices. cause technically like this it's your choice, not the prism's choice. so what was with the prism having health then. was it just to show how awful Hessonite is to it?

also, i can't look at light Steven without thinking of Pink!Steven and hhhhh

"You're a wise creature, aren't you?" Yes, yes he is *nods sagely* I hope you come back someday to learn more from him

You're pretty adaptive, huh Hess? of course, if you've been having these thoughts and feelings for thousands of years you're probably not too shaken up by the realization that they're true. That’s actually pretty great of you to want to figure yourself out.

ha, so Garnet didn't let her leave like the wiki made it sound like, she just yeeted away, and good luck catching anyone who can move at 5 million miles per hour

the gems are running in place in the next scene and Amethyst is backwards again. connie is also facing the wrong way. ...this game's a bit jank, isn't it :P not that i mind, a little jank is fun!

Peridot breaking the fourth wall with her Are Pee Gee again. I wonder which one it is. Golf Quest Mini?

do you get anything for 100 percenting this? oh, i guess there's achievements. no bonus content tho?

Lapis: I think I could use a break.

i for one would like to know what book the prism was reading. also, it's back to not talking again.

AWW YIS! We goin' out for pizza tonight bois!

The gems finally get to stop running in place in the corner

aaww, it's a beach scene reminiscent of the opening. kind of weird that greg is the only one animated but still cute

also someone's last name is Gooch and i feel bad for them

alright now to google Hessonite's VO... Christine Baranski. Are-Are we just hiring broadway singers for everyone now? not only would I die if Hessonite made an appearance in season 6, my soul would reach the farthest realms of space if she sang a song on top of that.

well, that's a wrap! time to jot down all of Hess's dialogue for later reference! It’s a crime that there’s so few fanfics about her, she actually has a lot of potential!