#it just writes itself and I'm so fucking jazzed about that because it's giving me fresh ideas to work with and augfljgfdk I LOVE IT

[zenmai--jikake--no--komoriuta]

MiqoMarch'24, Day #7: - light -

A bit of a different take on this prompt, today is all about sin eater D'nyr from the point of view of an alternate timeline where he really did become a Lightwarden!

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀- observations log. 1/5/XX, day.?? - ……..thus the creature was bestowed the title of Forgiven Temperance by its former allies, following the meaning of self-sacrifice and asceticism; excessive restraint/repression of one’s self for others benefit. At his core, one can suppose that this was both his fatal flaw and driving virtue! The poor soul… To date, nobody knows for sure what the beast fully looks like, not even those who fled the site of its transformation at the depths of The Tempest! It has scarcely budged from its initial location a few moons ago… obvious logistical reasoning aside, only a scant few exploration teams have had the wherewithal to venture down there past the safety of the Ondo's dwellings. Reports have led us to believe that the creature is covered in sharp spines and has monstrously large "claw-hands" (as it was described), or possibly some sort of scorpion-like tail as well? Its profile is unclear and hard to make out in the murk from such a distance, but one thing is unanimously clear; all of our teams have fled after seeing what they claimed to be "horrifying gold eyes" staring back at them! Yet the beast has not once given chase upon sighting our researchers, which is just as unsettling as it is perplexing… Due to the unique constraints inherent to its location, we are at present unable to cull the Lightwarden and return the night to the region of Kholusia. Mercifully, its light has not pierced anywhere else due to the sheer distance from the water's surface acting as a convenient attenuating filter, but one could surmise that if the beast were to emerge then all of Norvrandt would be under light pall again… its effect on the populace is quite clear: residents have responded with equal levels of fear and also apathy to this situation, as while some are content to live their lives as they had been before (with the beast effectively "out of sight and out of mind" and therefore not a problem), others are starting to become fearful of the ocean entirely (a complicated notion, due to their relative proximity at all times to it)! Disquieting rumors have started to spread amongst fishermen and sailors alike, that if you venture too close to the ocean you'll be dragged under by the Lightwarden, never to be seen again… though one would hope most people would question how bogus this sounds-- if you'll excuse me interjecting my own personal opinion... at this juncture I simply cannot see the Lightwarden ascending from the briny deep just to prey on hapless passersby when it has showed absolutely no inclination towards moving from even just one single spot-- it has nonetheless had a noticeable impact on the region's imports and exports of fish, so now we must find an effective way to quell the people's terror to rectify the economic impacts alongside dealing with the creature too………..

------ (as a bonus, have the rough draft of his Lightwarden trial encounter under the cut! because I am sad it will never get to see the light of day otherwise and I was proud of the concept years ago lmao)

CONCEPT: . Overall theme is “the breaking down of appearances to reveal what was always there, but hidden away”-- stage and boss both change per phase to reflect this, going from a more idealistic “this is what the WoL as a sin-eater would look and fight like” to a “ohhh god what is that that’s not the WoL anymore” . Mechanics are based around D’nyr’s repressed feelings towards others (loneliness, anger/the need to lash out sometimes, not always saying how he feels, his dislike of others putting him on a pedestal, etc.) and the world at large (eg. the fragility of life, futility of some things, etc.) and his unfulfilled hopes and wants (to live unfettered by responsibility to the world, to settle down with a family of his own someday, etc.)

PHASE 1: . Certain mechanics grant a stacking buff to the boss (Fervent Denial), which is necessary to progress the fight! These mechanics have an interrupt bar and represent the feelings and things that D’nyr has repressed-- if the cast is interrupted, the buff will not be given, increasing the flat % of damage taken from the ultimate attack at the end of the next phase [it's calculated based on the damage dealt to the boss in the first phase (% thresholds that indicate how much it weakens the overall ult damage by), as well as the actual phase progress bar (below 80% is no extra damage, at 80-90% it is +3% extra damage, 90-99% an 5% extra damage, and 100% a flat wipe)] . In a meta sense, the only way to put him down for good is to damage him when he is at his most vulnerable (ie, his final form), and the only way to get him to show that is to let him go berserk and not deny him the things he’s been disallowing himself all this time-- as D’nyr at his core would never allow himself these actions, it causes a “breakdown” of the mask (literally, the bosses’ one too [he has a blank slate mask with a golden kintsugi X like D'nyr's scar, for context]) and internal walls holding him back, fracturing his perceived sense of self and causing him to shift into a form that represents all of these denied things, which is what truly needs to be destroyed/purified! . Normal mode has 7 chances to grant Fervent Denial giving some leeway for mistakes (the buff stacks cap at 5 however, so it is not possible to get 7 stacks despite there being opportunities to do so), but Extreme only has the exact 5 chances needed to progress! If players have not let the boss reach at least 5 stacks by the time the hard-enrage longcast goes out, the party will wipe. . Fervent Denial also slightly increases damage dealt by the boss, so he will gradually hit harder and harder over time, plateauing right before the phase change. . After the boss uses its phase-shift move (what would normally be the yet-unnamed hard-enrage longcast), the stacking buff will disappear and the boss will become untargetable, beginning the DPS check phase.

DPS CHECK: . Unfinished from here on out-- but basically beating up… some kind of add, and while you do that the boss' mask slowly cracks with bright light before shattering into his second form and unleashing his ultimate attack (he becomes more agitated and spiny-looking but I never finished designing any of his forms so just imagine the possibilitiiiiies)

PHASE 2 & 3: . To be continued……. or not! maybe someday :')

[lumeha]

Current FE hot take is that Engage and 3H have traded writing issues for me ?

Like - surface-level writing in Engage can be painful sometimes ? I think some scenes do not flow well and get too long, and it can be a bit too much (jazz hands), and 3H is really, really good at giving you short scenes with info that grab you

But 3H kind of... for me, it kind of crumbles under itself with how it just kind of never looks back on its own story and never really ties itself up together in a neat and satisfying way ? There's a lot of dropped plot threads. A few weeks ago I mentioned how I felt frustrated over how 3H never seems concerned with really resolving the Tragedy, for example, and I have complained enough about how the post-skip seems to want the player to forget all about the Flame Emperor and kind of lets Edelgard off the hook for her actions in White Clouds ? There's just a lot of things raised that never really get any... good resolution in the plot, and it's kind of left to the player, and idk, it's not just "you need to search for the answer" but more "there's crumbs, deal with it" (but sorry you're not Dark Souls ?)

Meanwhile Engage makes it so re-starting the game will make it painful to play again because of how it worked its themes and the story of Alear and how coming back around and starting the game again allows you to fully take on what's going on ? And it's like. No, the writing isn't perfect, for sure, but the game had a theme and it actually ties it up so nicely and explores it with all it has and I think that means a lot ! There's a lot of things that go back to it ! Actually I do weirdly think that my complaint about the Hounds feeling like awful toxic co-workers more than a family fits in the whole family theme of the game even if I'm not sure it's what they wanted - because Zephia just doesn't... get / do / work to have what she wants and she fucks it up in the end and she deserves what comes to her ?

idk

waves hands

jazz hands

something something this is a train of thoughts not a developed meta

[bitegore]

director's commentary on "just another lab accident"? 👀

"just another lab accident" can be read here on ao3, if you haven't seen it yet

there's a trick to this fic, and it's thus: before you requested ratchet/wheeljack, me and a friend had spent like two weeks on discord jamming about them in g1 and I started slipping them in as a background pairing during my nonsense texaid fics, but I don't think I'd ever quite gotten them on paper before. Naturally when I went to write this I had brainworms.

Plus, also, like, I wear my heart on my sleeve and that heart says "I love gore so so so much I just love gore more than life itself, also I love gore" so like. The brainworms. They were very wormy.

I pretty much just zoned out and banged it out in about an hour, if memory serves; maybe less than that. That being said, my original thought for a character to force to Witness This was Sunstreaker with a side of Sideswipe; then trying to figure it out I went through Ironhide, Bluestreak and Jazz. I'm not sure why I settled on Smokescreen and Hot Rod but I did definitely put First Aid in there because he's the other medic I give a disassembly kink to, and all that.

In the au this is set sort of tangential to, Wheeljack and Ratchet have just been fucking for so long that they're both totally comfortable being like "hey :3 wheeljack is injured so it is time to fuck" and have kind of forgotten that this is not typical to everyone else. Surely everyone's seen Jackie blow himself to bits before, right? All in the name of mad science? Why are you all so shocked, lmfao, it's Jackie, he's fine. And Ratchet has a bit of a reputation for being a torturer with everyone who's been in the vicinity of them getting Up To Shenanigans- not because he is, he's got a bit of a gruff bedside manner but he's fine- but because Wheeljack likes that and Ratchet is able to just relax because also if Wheeljack is holding a conversation he's just fine and there's no real pressure.

This Wheeljack has also upgraded his own circuit dampening systems for the sake of doing more mad science better, so he's also not in as much pain as you'd expect for someone with half his torso blown off. Pain? Yeah, obviously, it hurts. But not so badly that he can't walk and chat and (theoretically, if the machine hadn't exploded itself and made his life more inconvenient by removing one of his hands) go back to work. Ratchet helped :)

i love them. I keep putting them in the background of everything else I do but at double speed because writing this fic did not fix the brainworms, it simply made them multiply. i love them so much. truly one of the greatest g1 ships out there.

[watching-pictures-move]

Put On Your Raincoats #17 | The Erotic Reveries of Rinse Dream

Cafe Flesh opens with a title card orienting us to its post-apocalyptic setting. After a calamitous apocalyptic event known as the "Nuclear Kiss", the world is made up of 99% "Sex Negatives", and 1% "Sex Positives". The Sex Negatives can't have sex and can only watch. The Sex Positives escaped such a fate, but are instead forced to perform for an audience of Positives for their vicarious enjoyment. There are many such venues but the one we spend the movie in is the Cafe Flesh of the title, a nightclub where the decor and patronage evoke a cross between punk rock and retro-futurist aesthetics and a hint of Rat Pack era cool. A smarmy comedian in a white tuxedo introduces the sex acts, which are elaborately staged performances that play almost as genre parody with their tongue-in-cheek choreography (plenty of costumed grinding, as with a performer in a rat costume early on, and mimed thrusting, as with another performer in a pencil costume in a later scene) until the turn into the real thing with the requisite close-ups. Futuristic jazz reminiscent of Angelo Badalamenti's music plays over the proceedings.

This serves as the background to a story about a woman who may or may not secretly be a Positive (played by scream queen Michelle Bauer and, in certain scenes, a body double) and the impending arrival of a legendary Positive performer known for his virility (a towering, square-jawed Kevin James, introduced in black sunglasses and an oversized blue suit). We also get a sense of the tensions in this nightclub ecosystem, particularly between the heroine and her boyfriend, a new performer, the comedian, the owner (who puts the comedian in his place in one scene by having him cruelly recite "the rhyme"). (The comedian is played by Andy Nichols and the owner by Tantala Ray, both of whom played interview subjects in Gregory Dark's Devil in Miss Jones two-parter, which leads me to believe the latter was influenced by this movie, as Nichols in particular doesn't have many screen credits.)

This movie apparently was a bit of a success in the midnight movie circuit, and it's not hard to see why, based on the strength of the mise en scene and the performances. The cool, smoky backgrounds of the reaction shots provide a nice counterpoint to the avant garde looking performances and give the highly stylized setting a nice evocative quality. There's also a level of genre commentary here, as the story ultimately is about the heroine's agency over her pleasure and the roles sex performers are forced into by greater society, ultimately imprisoned by their own abilities. Truth be told I found the performances got a little less enjoyable when they got down to business with the penetration and whatnot (it gets harder to pull off inspired choreography when one of your appendages is stuck in another person, or vice versa), but I also think it's necessary for those themes to resonate.

Cafe Flesh was directed by Stephen Sayadian, credited as Rinse Dream, and he'd previously used that pseudonym on Nightdreams, for which he co-wrote the screenplay. (The director was Francis Delia, who went on to a career of directing mostly music videos and television, while the other writer was Jerry Stahl, known for his memoir Permanent Midnight, as well as writing for shows such as ALF and movies such as Bad Boys II.) This movie similarly concerns agency over female pleasure and is about two doctors (Andy Nichols and Jennifer West) conducting experiments on a mentally ill young woman by inducing erotic dreams and monitoring her brainwaves. There's a dream involving a giant, monstrous jack-in-the-box. There's one with a pair of cowgirls and something other than a gun stored in a holster, with the cowgirls spouting stilted dialogues in robotic monotones, a Sayadian trademark of sorts. Wall of Voodoo's cover of "Ring of Fire" plays over the action (I'm not sure if they paid for the rights, but Delia and Sayadian did direct videos for the band). There's one with a group of bedouins sharing a hookah and then her. There's a giallo-esque scene involving a masked assailant, but this happens after an aborted nightmare about a shrieking man with a hollow chest from his pants emerges a shrivelled up, monstrous baby. Did David Lynch jack off to this? I wouldn't rule it out, folks.

There's a scene where she blows an anthropomorphic box of Cream of Wheat, while a jaunty cover of "Old Man River" plays on the soundtrack and a man dressed as giant piece of toast dances and plays saxopohone. An IMDb user review cites this scene for its cutting racial commentary, but I found this tonally jarring with the rest of the movie. After this, there's a trip to hell where a demon and his minions subject her to such horrific tortures as prodding her with a giant claw and then an even more fearsome double-pronged contraption. The scientists argue over fears that they gave her too much stimulation. ("This woman's on the brink of an orgasm. Let her enjoy it. She doesn't need interruption from a man." "You call it orgasm. I call it breakdown.") The movie then makes way to its final set piece, involving fog, a background of blue sky and pillars and soft piano music. The cinematography in this scene is in stark contrast to the mostly shadowy, intimate imagery of the previous scenes, with the camera pulled up to admire both their bodies and the scene continuing for some time after the climax. It almost brings to mind a certain scene in Jerry Lewis' The Ladies Man that I found disarming in its stylistic and tonal break from the rest of the movie. Without revealing too much, the film's coda sets the record straight.

It probably doesn't say anything flattering about me that I found most of this pretty hot. The movie has a tinge of horror running through it, giving many of the sex scenes (especially the one in hell) a real tension, while the scientific framing device gives it a cold, calculating quality reminiscent of David Cronenberg. (Alas, this doesn't predate some of his most influential films, but for all we know, David Cronenberg jacked off to it as well.) A few of the character names (Mrs. Van Houten, Mrs. Chalmers) make me suspect that Matt Groening might have seen (and jacked off to) it as well. This is pure speculation on my part, but as far as I'm aware, none of them have denied it either. The movie's distinct tone is grounded in an impressive lead performance by Dorothy LeMay. I wasn't all too impressed with her work in Taboo II, but here I think she skillfully evokes the heroine's derangement and "erotic trauma", in the words of the scientists.

Sayadian and Stahl collaborated again for Dr. Caligari, a relatively mainstream effort that also found some success as a midnight movie. I say "relatively" because it's still pretty fucking weird. The movie positions itself as a loose sequel to Robert Wiene's classic The Cabinet of Dr. Caligari, this time about the granddaughter of the original Caligari conducting illegal experiments in an insane asylum. From the earlier film it pulls a German expressionist influence, but combines it with a campy, MTV-inflected style to present the asylum as a warped funhouse. The dimensions of the architecture are distorted and full of odd angles, decorated in a mixture of pitch black and gaudy day-glo colours (lots of yellow and pink costumes). This is not a pornographic movie, yet it's hardly less obsessed with sex, as the villain's plan concerns the weaponization of female pleasure. There's also the occasional grotesque sexually-charged image to spice things up, like the sight of a woman with giant, phallic-shaped breasts. Some of the imagery also gives it potency as horror, like an oozing sore or a cake full of intestines. There's a lot of strange, stilted dialogue, as in this exchange:

"Describe your life in three words or less."

"Un-ending torment."

"Elaborate, please."

"Blankety blank blank."

"Thank you for being specific."

This is matched by the angular body language of the villain, played by Madeline Reynal in a deadpan yet very physical performance. This movie also brings into focus a voyeuristic theme, which was present in those earlier movies but didn't seem quite as confrontational in its presentation. A character utters, basically to the audience: "I know you're watching me. I feel your eyes like wet fingers touching me in special places." (This is a line of dialogue that appeared in the next few films I'll talk about.) Truth be told, I was a little exhausted by the sensory overload of Sayadian's style here, and in retrospect appreciate the way the sex scenes act as a counterpoint to his more aggressive tendencies in his more explicit films. But at the same time, this is full of memorable imagery and has a weirdly compelling lead performance. I don't know if there's much else quite like it (or at least operating at this force), so it gets a recommendation.

Sayadian followed up Nightdreams with a few shot-on-video sequels. I skipped Nightdreams 2 as I could only find it in a heavily degraded transfer, but I did make time for Nightdreams 3, which has a self contained story that's essentially a more explicit if relaxed version of Dr. Caligari, once again concerning a doctor conducting sinister experiments at an insane asylum. (This time her experiments mostly involve just fucking her patients and other staff.) There's more of the stilted dialogue, even closer to non sequiturs than they were in the earlier film, with the music by Double Vision providing an off-kilter soundscape to match the weirdness of the dialogue. (Highlights include "My pussy's like an erotic assassin" and "I happen to know she has a thing for longshoremen. Just mention On the Waterfront and she gets randy pants.") The video imagery quite frankly is pretty ugly, with the green carpet and purple drapes that decorate the set looking especially ungainly, yet Sayadian seems aware of this, as when he uses video's flattening effect to create a crude facsimile of a split diopter shot. The video collage style he adopts meshes uneasily with the plot, as if to call out its meaninglessness, giving the whole thing a slight MST3K vibe, especially as characters speak directly to the camera.

Some of these tendencies are honed to a more pleasing form in the two-part Party Doll A Go-Go!, where we spend time with a number of attractive, shapely women in bright coloured lingerie as they spout '60s-inspired dialogue at the viewer in between scenes of copulation. (Not all the dialogue is '60s-tinged, however: "They're overcome with retro wordplay...Us modern girls prefer synthetic future".) Like many pornographic films, this is a collection of loosely related sex scenes, but Sayadian's construction turns those genre requirements into parody, having his characters offer colour commentary (albeit channeled through his campy prose) on their own scenes and even getting interrupted by the stars of subsequent and preceding scenes. The number of quotable lines is even greater than those earlier films, and I admit I was scrambling to write down the choicest ones as there were so many. The best lines go to Jeanna Fine, who also has the huskiest voice and the most penetrating stare, so she was easily my favourite. I certainly was not unmoved when she insisted that she's "never run around buck naked and bubbling for man-winky" or "never wrapped[her] lips around a throbbing johnny". (She does not, however, deny having ever interacted with beef bologna.) Or when she asked the audience "Was I a bad girl?" (said three times in rapid succession) or if we've "ever seen a double orgasm on videotape?" (She adds "Watch, pornhound" and "Calling all porndogs, watch me work, uh-huh.") And I definitely wasn't unmoved when she demonstrated her talents on a dildo dangled in front of her (which she refers to as an "artificial man-thing", a "chubby rubber fella" and a "flying princeton"). No, definitely not unmoved.

There isn't much of plot here, except in the latter half when one of the girls can't stop "the wiggle" and needs to be rescued with an emergency injection of "boy jerky". Sayadian, once again bringing voyeuristic concerns into focus (the characters all talk to the camera), seems to be satirizing the very idea of porn having premises and certain their lazy execution. Even the production design is transparent in its chintz (the movie is shot entirely on the same set, with the bare minimum in alterations to the set dressing to make it look even slightly different), while the video images, which feature lots of Dutch angles, zooms and whip pans, match the campiness of the whole affair. This is probably a little long at a combined 2+ hours, but at the same time, it settles into a nice groove and is full of really attractive and reasonably charismatic actresses delivering amusing dialogue and indulging in "girl homo" (sometimes "big time girl homo") or getting "boy jerky". I don't have much interest in delving into '90s pornography and shot-on-video productions strain the dignity one can feel while trying to watch pornographic films as actual movies, but I'm not gonna pretend I didn't have a good time with this.

[queer-crusader]

How do you think Silver & Flint's relationship would have evolved if things hadn't ended the way they did in S4? How do you think things would have progressed through time? I tend to think about the what ifs a lot. I'm just curious what your thoughts are on it.

OOFT. I mean i have many thoughts! It’s... very hard to say really. Because i think one thing Black Sails does incredibly well is the way it builds a story and a character. Many choices made in this show are so dependent on what the characters want and who they intrinsically are and how they influence each other (willingly/knowingly or not), and i feel like there are many very complex interwoven roads that led them to the conclusion they got to. Which is one of the many reasons the finale felt like such a tragedy; you know things are going to end badly because you kind of see it coming. And dear god it does hurt, even with Flint being reunited with Thomas.

So. I think there are two ways to answer this question, and you can sort of divide them into canon-ish versus fanon wish. These may not exactly be clearly indicated bc like i said i have Many Thoughts, and i apologise in advance 😅 Another thing i’ll be looking at here is something we had to lay out for our characters when i studied acting - the goals/objectives/motivations of the character, and their emotional/mental state. None of this is meant to be critical against any character. I simply adore analyising them and the paths of the story, and I love each and every character i talk about here deeply.

So, looking at that finale. There’s several things that i could take from what you say about things not ending the way they did - for now, i’m looking at the confrontation between Flint and Silver in the woods, where Silver forces Flint to quit his war and reunites him with Thomas.

Firstly, let’s analyse what we get from the canon, and what i believe motivates these characters to bring them to the point they end up at. There’s that famous line i think of Silver where he says he doesn’t know anymore where he ends and Flint begins - their thinking patterns have become so intertwined, they basically share a braincell. The tricky thing about this is, just because he and Flint think similarly, share tactics, and a knowledge of how to use people in their means, just because they understand each other well, doesn’t mean they share opinions and morals. Flint especially seems to forget this. He believes Silver is with him in his cause to end Imperial rule. But from Silver’s final actions, it’s clear Silver values his personal wants and needs above that of this abstract crowd of people. He’s not oppressed - or hasn’t felt the effects of Imperial/religious oppression (as far as we canonically know) like Flint and Madi have. And that means he doesn’t have the same drive. He’s driven by his personal connections to these people, i believe, purely from his own point of view. Like, i suspect he struggles to place himself in the shoes of Madi or Flint to feel their pain and motivation. He can see it, he just... doesn’t fully grasp it. (There’s also a question of whether he wishes to, but i feel nowhere NEAR qualified on answering that, nor do i think the canon gives us enough material to give a perfectly cut & dry answer.)

So you have this big miscommunication. Flint believes that, because he and Silver have basically become one shared braincell, they have the same goals, while Silver is still driven from a point of selfishness. (Side-note: there was a moment in the show he became selfless! He wouldn’t give up his crew when faced with torture from Vane’s quartermaster! But then he lost a leg over it and it seemed to dampen that selflessness. I think from there on, moments where he seems to be motivated by the good of the crew come instead from an internal need to belong and be loved more so than a genuine sense of brotherhood. That brotherhood may still have been there, but i think he might have suppressed that instinct a little and instead let the more selfish needs take more of a front seat. Understandable and not bad/evil, like that’s super valid of him. But my point is, he’s not exactly ready to fight for another man’s cause he doesn’t have as much of a personal emotional profit in, especially when he knows it’ll end in certain death for everyone he cares about and he knows cares about him.)

So that’s sort of where the characters are mentally in that climax. I may be skirting details and summarising a bit hastily, but it’s also been a GOOD while since i’ve watched season 4, so i apologise. Flint (and Madi as well - she plays an equally important role i think!) is fuelled by a mix of rage born from oppression/discrimination, and a protectiveness for others who may suffer the same fate. Silver meanwhile is fuelled by a need much closer to home - to be loved and to keep those he cares for and deems important to him alive and around. I’ve framed it as their emotional drive, but really it is also their goal, their objective in that finale. Flint and Madi are looking to burn down an oppressive system while Silver... isn’t. For him, their goals stand directly in the way of his. And by the end of the show, he’s gained enough power to prevail in his objective, cancelling out those of Flint and Madi.

So, could it have gone differently? I think, if we wanna play with canon and keep it as close to canon as possible... It seems almost impossible. These people’s goals just do not align. (There’s that sweet sweet tragedy again.) So what you need for it to go differently in short is for one of, if not several, of these people to change their goal. But we’re talking their MAIN objective, their main driving force at this point in the show - so like, the chances of that are slim. ESPECIALLY if we’re talking about the canon characters. After all, for that, the characters would need to look inside themselves and fucking face up to some of their issues and work on them. (This is something which these characters are not very prone to do, bc jesus it’s a mess in there and if that were me i’d preferably not turn introspective either and be forced to look at all that.)

So if we wanted Flint to change his goal, he’d need to come to terms with the Empire being untouchable - which is bullshit bc like my man has a POINT, just because they seem to be able to be brought down doesn’t mean they ain’t - and to accept the homophobia and oppression they treated him and Thomas with, which, yeah fuck that, absolutely not, his rage and his goals are valid as FUCK. If we wanted to change Madi’s - lmao like listen i understand wanting her and Silver happy together bc we ship EVERYTHING in this house, but she’s poc and proper royalty and wants to end slavery. We ain’t touching her goals. So that just leaves Silver. Silver would need to face a part of himself that keeps him from placing Flint’s goals, or Madi’s goals, over his own. (I suspect we circle back to that insecurity and need to be loved, which defo stems from whatever trauma he swears doesn’t affect who he is today.) So for that he’d uhh... need therapy. And a shit tonne of it. But then you still have the issue that Flint and Madi will likely fight their war (bc they DESERVE IT), which may lead to what Silver considers inevitable - that they will die early and horribly, and he ends up all alone.

So, looking at playing with the canon-ish to change things? It’s gonna end in tragedy. There’s doesn’t seem any other way about it, i fear; not with the way these characters were written, with who they are and what drives them and what they want. If it doesn’t end in tragedy in one way, then almost certainly in another.

So what are our other options? What if we look at the fanon wish - whether it’s silverflint, or silvermadi, or madisilverflint, or just to have these kids be fucking happy? Well, you know what? Maybe it DOESNT have to end up in tragedy. Maybe, if Silver does align himself with the goals of the people he loves - after learning to communicate and place himself in other people’s shoes and prioritise the needs of his loved ones and compromising and all that jazz (god this boy needs therapy that only the fanon can likely give him, rip) - he could join them in their war. And maybe, his genius and creativity and quick wit will in fact propel their cause forward and help so much, none of them dies an early gruesome death. It’s not impossible! It just requires that sweet sweet character growth he doesn’t get the opportunity for in canon.

Another option, and this one is perhaps a little more plausible if the show had no episode limit or a desire to end in tragedy and “align” itself with “history” (they’ve played fast and loose with real history i’ve learned, and like,, it’s a story about fictional characters so why did it have to align itself with history?? Okay fine, as a prequel to Treasure Island, it still needed to end in tragedy for Silver bc we know where he ends up. Were there no Treasure Island and no rules and we could do what we wanted with the show and write a new ending, then what?). This one is more popular, you see it in loads of fics and i like it a lot. Silver sends Flint to the plantation. Flint and Thomas break out and get their war anyway. They’re pissed at Silver for a bit for being a selfish dick shitting on Flint’s dreams, but like,, it’s not as if it stopped Flint. (We can even look at it like Silver knew they’d probably fight their war and have better odds with Thomas in the mix, giving them a better opportunity - but like, that’s just a fun headcanon to play with that i don’t think aligns with what he explicitly states to want in canon.) And then, after some years, everyone learns to communicate and talk things out and maybe, maybe, Silver grows a bit and things become healthier between him and Flint.

Listen, the moral of the story is this. I love all the ships in this show. I think they’re all neat, and i love the different iterations in which people bring them to life and try to align them with canon. Do i think that with the canon we’ve been given, silverflint could happen? Maybe. Would it be healthy?? I mean... Probably not 😅 but like, that doesn’t prevent me from shipping it. (That’s not the point of shipping - sometimes you just wanna see that sweet sweet chemistry pay off, even tho u know it ain’t healthy. The characters are fictional. It’s okay. No-one will get hurt - apart from maybe you if you end up romanticising it and taking that into real life but ooft that’s a whole other kettle of fish.) But god, that’s the fucking JOY of fanfics ya know?? It may also be why i enjoy writing my modern au so much xD therapy is an option, and canon means even less than usual. All im saying is, when it comes to the relation between silver and flint, the fan community are a fucking godsend. You want them to be friends?? We got fics for that! Want them to bone? SO many fics for that! Want a sort of father-son role?? Uhh nowhere near enough fics for that, but the fandom’s still active so you never know! Partners in crime?? Hell YEAH that has potential, even in canon i think if u just stretch out fan-written episodes far enough!! (God can you imagine the POTENTIAL?? Ignore the war, the grittiness, the drama. Get me some pirate hijinks where the stakes are low but they’re still sharing a braincell.)

(Hmm. Now i need to add another idea to my WIP list lmao xD)

Anywayyy, hope this satisfies ur curiosity anon!!

[retphienix]

I Have A Lot To Say So I'll Read More This.

The short of it?

I'm glad I played Joker- I played it because I wanted to know how DQM evolved when it reached the DS and I got my answer.

It's mediocre. Not bad exactly, I enjoyed playing it, it adds some REALLY appreciated features to the DQM series and if you were playing it at release it had online play which plays well with the post game content which I haven't touched by the time I wrote this:

-but there are some engine/console specific things that made it a drag and there are some parts of the game that are just weaker than the previous games which is amusing since the previous games were simple GBC titles.

And finally, I don't really recommend playing through Joker 1. Can't speak on the sequels, but Joker 1 was a pretty middling experience for me so I'm the wrong person to get a positive recommendation from.

And since the opportunity presents itself: If you like monster RPGs and haven't tried it- go emulate Dragon Warrior Monsters 2 for the GBC, it's really good and also if you emulate you can fast forward the GBC era grind if that's your taste- really a win all around.

On to my rambling:

I debated on writing, rewriting, rewriting, and better presenting my thoughts on this game and the series as a whole but nah, Joker ain't getting that, I'm ramblin'- lol

I will split it slightly between "The ending" and "The game as a whole" though.

Ending:

1:07 - This is slightly a 'game a a whole' thing but honestly it's funny to me that you unlock a permanent repel in this game by doing the main quest. I entered this dungeon feeling strong enough to beat the game, so I just avoided 90% of encounters entirely.

5:00 - I genuinely got a laugh out of Sparkpug's whole deal in this finale. Not story wise, that's fine, no complaints- I mean that Sparkpug is clearly built to be a monster that can carry an ineffective team. He's clearly meant to be bred a few times and a god tier member of a potentially inexperienced player's team- but I literally never used him after the intro.

So during this scene it's supposed to be like "I'm a demi-god monster, you can't possibly beat me" and I'm thinking "Dude, you're like level 10 and shit tier, you can't win, this is hilarious."

Obviously it's a real boss fight and not 'face the monster you once had' but I was having fun roasting him behind the scenes of this recording.

45:00 - What an entirely unexpected change of pace.

Like, I had it spoiled for me by a screenshot that Dr. Snap becomes a monster or something- but I thought maybe he was always a monster or something, and also I got a bad look at him.

HE TURNS INTO A BODY HORROR BEAST, THAT'S NUTS.

Genuinely a highlight of the game.

52:00 - I fucking laughed what a meaningless exchange where the payoff is saying "He was stupid!", it's honestly just silly and dumb but not necessarily bad just dumb lol

55:00 - Not a great 'you won' victory lap. Like at all. Kinda feels like they should have just made this all a cutscene where I appear back at town and see that Solitaire is the leader now etc etc.

I kinda don't understand why it's a victory lap at all? Because all anyone says is "They picked a weird successor to Snap >:(" or "Snap went to the island? I bet he was stopping the calamity :)"

If you have 2 lines of dialogue prepared, maybe don't make a victory lap???

1:00:00 - What a fucking stupid payoff lol

Like sincerely, Solitaire does NOTHING the entire game! She's meaningless from start to finish! And the 'surprise' is that she's the new commish??? And she got the position because she's a rich spoiled brat??? Like LITERALLY that's why????????

What a stupid fucking ending lol

Now her proposed evolution of the contest is fair enough, I mean it's childish as hell, but to be fair- more contests is a fine idea especially since prior games and this game demonstrated the public's interest in watching monster fights. And the goal being to fight her as the final fight is fucking egotistical and stupid- BUT- it does play into the fact that the player didn't get to fight her the whole game so it's whatever?

1:03:00 - This is both the best and worst lol.

This game has no story, like at all, it's fucking empty front to back, and only explodes with like- 1 event at the very end.

This moment is a montage of memorable moments with your 'best friend' Sparkpug. It's cinematically very nice to be honest! Even includes a moment I don't remember at the arena which probably didn't happen lol.

So visually it's cool- I dig seeing the camera zoom out as we run across the beach, and the flashback moments intersplice over us making our way to the scout memorial- that's very well done.

The content is empty lol

As I said there's no story, these moments are nothing lol

And that's that.

All said the ending was a very nice challenge to face with my team- I had to abuse items like mad but I MADE IT! It was a GOOD fight.

The rest I've already said.

On to the game as a whole:

I have issues with this game, but there's good too. It's really like 4 steps forward 6-7 steps back it's weird, it's really weird.

Positives are neat!

> First and foremost- TRAITS!

Monsters in Dragon Quest Monsters have always had a problem with keeping their identity for long. The way I'd explain it to an outsider to the series is that Monsters DO have special stat variance and intended movesets and all that jazz- but the breeding system completely and entirely destroys that relatively early into the game.

While a monster might normally have really high defense and low other stats while knowing buffing magic- breeding, EVEN UNINTENTIONALLY, will have that same monster come out with 9 billion attack and all ice magic.

Monsters in DQM have a habit of becoming canvases for the breeding effects rather than their own mons- and this is undeniably a downside. It makes the game feel unique, it doesn't 'hurt' it, but when by mid-game monsters are more easily identified as sprites rather than strengths and weaknesses or even types (family) it's a slight downer on the series.

Traits fix this a lot by making every specific monster have unchangeable traits which offer things like "immunity to x type of damage" or "higher crit chance"- it's small, but it gives each monster more identity.

> Second and secondmost- SKILLS!

The older games didn't use trees, it used each individual spell as a potential pass on during breeding.

Each monster could have 8 spells, and when you breed two monsters you pass on all 16 spells to the offspring (they don't learn them all at once, they learn them as they level up) as well as the natural spells the monster would learn by level up.

So in the older games it is really easy to end up with a refined and overpowered list of 8 spells on each of your monsters.

Now spells are tied to Skill trees and your monsters can have 3 skill trees total (which are passed on as OPTIONS when breeding).

All to say skills do a lot for removing the "Master of all, weakness of none" spell lists that the older games made trivial to make, now you have to limit your builds and be more specialized- also they added skills like "Attack up" to add more variance to a build- instead of having spells you might just have high stat buffs as skill trees.

Overall I think Skills are an improvement because coupled with Traits it makes each monster feel much more specialized and unique and less like a sprite with no identity.

> Breeding is improved.

This is very much because of skills and traits- again- but also the system is just improved in general. Instead of being told "That's a monster you haven't had before!" and judging your decisions based on the name of the offspring breed, now you get to see a small sprite of the resulting monster to help you decide- ALSO instead of getting 1 result for every combo (to the point where you have to back out and choose Monster A + Monster B and Monster B + Monster A as separate options), you now get up to 3 results to pick between for every breeding opportunity.

It's just better.

> The engine is impressive.

At least to me. This is a DS title using (from what I read) a rework of the DQ8 PS2 game's engine- it certainly looks like it.

Combat models are nice, using moves looks nice, overworld exploration looks nice- it looks nice.

Now for some negative and general nonsense- all of which is more often than not 'weird'.

> I gotta be unfair and say "The Story" first and foremost.

DQM 1 and 2 are not intense story games. They aren't.

But they both knew how to handle their story well for what they wanted to tell, I can and will praise both for their narratives because they know what they are and do it well.

DQM:J does not. It's fucking bad.

Basically: The overall story doesn't exist- you're told to be a spy, but that comes up 1 time towards the end of the game and LITERALLY doesn't matter at any other moment INCLUDING the one time it comes up.

You have NO meaningful objective from the start up until near the end of the game. You show up and have no goal- so you get told to get some crystals with no meaning behind it (not even a lie because they are clearly evil- not even a lie to motivate you! NO MEANING IS PRESENTED! JUST DO IT! TO DO THE CONTEST I GUESS! WHY? SHUT UP!)

So 90% of the game time you're not doing anything meaningful. So what about the islands? Any small narratives to keep things moving?

NO!

NOT AT ALL!

So you go 90% of the game having no real objective, just kinda wandering forward mindlessly- and then the game suddenly goes "Oh! Guy who seemed sus! He's evil! He's gonna unleash the calamity that you were 'kinda but not directly' working towards with your dog! You know, that plot point that's kept vague and paid 0% attention to the entire game? Yeah it's happening! Aaaaand you're done! GG!"

Basically there's just nothing going on in this game, it's all background noise until the last 10% of the game. And that's lame.

DQM1 had a light story- but from the very intro cutscene you have a clear objective which makes every action you do seem relevant as you are working towards that goal.

From the start of the game you know "My sister is gone! The king says a magic wish can get her back! I'll go do that!" and then you do!

DQM2 has a much better story!

You have a goal from the start (The kingdom is physically dying and you have to save it by getting a new plug!) AND it has stories for each world you visit!

THAT'S MILES BETTER! THIS GAME COULD HAVE DONE THAT FOR THE ISLANDS!

Anywho. Story is lacking and empty and lame especially when DQM2 has a similar format but does every part better- you have a clear objective you're working towards AND side stories to keep the light narrative moving!

WTH!

The spy plotline doesn't matter! It could have been used to build suspicion on who's the good guy!

The islands are so empty of story!

DQM2 has a fun mix on how a rival character works which makes every world interesting to see how they get involved!

This game has a rival that does NOTHING!!!!!!!!!

It's just such a step back from the previous games, it's weird to see DQM 1 land a solid simple story and DQM 2 build a great format to expand the story going forward- and then DQM:J just slams its head into the dirt and wipes out.

> Game's slow.

The engine switch is a good thing overall, but it makes combat slower (a lot), adds loading screens to combat (primarily), and they didn't bother speeding up the grind from previous games.

Because of the grind still existing which isn't a problem in and of itself- the game becomes SLOW AS HELL because the engine makes that grind take longer.

Also world exploration is slow which is to be expected when moving from 2d to 3d, but this is countered by adding things to the world to find or do- and Joker tries but it's still noticeable. The world exploration isn't a problem, it just stands out alongside the combat being slow as hell.

The engine change was a great thing- but it feels like they should have put more work into speeding up combat to counter the slowdown of load times and flashy animations.

A GOOD WAY TO FIX THAT MIGHT BE XP!

> Music ain't great in my opinion.

DQ has amazing music. This game has some weak renditions in my opinion. The CELL HQ theme song is a pretty good poster child for the worst there is, but just in general even the better music is lacking compared to the chiptunes of the GBC or the better mixes of the main series.

Maybe it's unfair, it's a DS game, I don't know, I just know I ended up just muting most of the game because it didn't sound great. I played the GBC games OSTs instead for a large portion of my playthrough. I listened to videos instead for the bulk of the game.

It's just not pleasant to me, sorry to say.

> XP!!!!!!!

I'm being a spoiled ass on this but yeah!

XP SUCKS IN THIS!

There aren't good placed to grind until you beat the game! (apparently)

The first level blatantly has too low xp which makes you grind before you can tackle the boss of the island- and the late game has you mindlessly grinding low xp rewards in order to be ready to face the final boss.

It's WEIRD!

Why is it so low!

> Tech is weird!

I could ramble on this alone but here's the short version:

DQ has a unique fantasy world aesthetic that each game has explored in its own way. It's basically "swords, magic, monsters, and charm- things feel light but aren't afraid to get scary sometimes :)"

This game... doesn't.

This game has fuckin' tech watches, jet skis, TOWER PCS????

This ISN'T dragon quest on a world building level.

It's like, contemporary modern world but with slimes.

And that could be good I guess, but it feels so fucking weird to see PCs right alongside swords and axes and a dracky.

Like... why?

It's a poor aesthetic according to my tastes. Maybe I'm an ass for that. The tech is weird.

All to say, in a poor rambling "I gotta get this out of me" kinda way, is Joker was fine.

I enjoyed breeding. I enjoyed seeing the engine. I enjoyed the unique additions like a 'hero monster'.

But I also had to grind mindlessly on a slower game.

I had to endure a story that forgot to show up until the very end.

I sat there thinking about replaying the older ones the whole time.

It was fine.

It's mediocre.

I'm glad I played it.

I'm done now :)

[primeemeraldheiress]

Can you please recommend some recent good Jason fics? I'm kinda still falling in the fandom, but already finished all the most recommended stuff like Not so outlaw or Retrograde motion

I can give you a few recent bookmarks of mine and I’ll give you a few of my favorites. I assume you know what I write so I’m not gonna warn for the possible types of fics you’re gonna find here. 

Runneth Over and All That Jazz - thenafics

If it weren’t for his chest, Jason would be nearly impossible to recognize as an omega. He’s taller and more muscular than most omegas so with his deep voice, no one would ever guess. If it weren’t for his body’s absolute betrayal. Jason, like pretty much all adult omegas, produces milk. It’s meant to help reinforce pack bonds and keep pups adopted into a pack fed. That’s not the problem, that part of it is manageable with absorbent pads in shirts and semi-regular use of a breast pump. It sucks, but it’s not the problem. The problem is that Jason’s pack bonds are weak, so his body will let down and start producing milk on a hair trigger. He’s peak fertile age and tangentially part of a mostly alpha pack, but not bonded well enough to balance his hormones, so his body has decided to try and tempt his pack into bonds with milk.Is it working?-The finished version of my most asked after WIP from evil author day-

Rescue Night - strikeyourcolors

(AU) Jason is trying to make a food delivery when he stumbles across a hostage situation. The captors claim he’s Nightwing, the guy claims he’s just a stripper, and Jason just wants to go home. Unfortunately, it seems he’s going to have to launch a rescue operation. The night just keeps going downhill.

like falling apples - wajjs

If Gotham’s a force of nature, so much akin to gravity itself, then he is the very apple succumbing to its rules and desires.

Daddy Bats and Mother Hen - River9Noble

Jason Todd is back from the dead and pissed as all hell that Bruce hasn’t killed the Joker. Red Hood wants nothing more than to turn his back on the entire Batfamily - but instead, every time he turns around, they’re watching him. He just wants to be left alone… but that chicken noodle soup does taste delicious.

Keeping Secrets From Yourself - WithTheKeyIsKing

Looking back, the signs are all there. But they never noticed it about themselves.

They never noticed how Bruce did.

No Place In Heaven - DarcySkat

Martha and Thomas talk to Bruce about his son.

Bruce thinks it’s Damian.

Lightweight - taugex (I love this story)

Bruce returns to his office after back to back meetings to find his good brandy opened and his sidekick drunk.

Blanket, I rec anything by Skalidra, firefright, scandalsavage, WithTheKeyIsKing, daemoninwhite, WorkingChemistry, lurkinglurkerwholurks, and Ellegrine. I’m going to stop there because, frankly, there are a lot of authors I’d blanket rec. 

Requiem - scandalsavage

He blinks as his brain takes it’s sweet fucking time processing what his eyes are seeing.

“So you’re me, huh?” the kid says, rocking back and forth from his heels to his toes like he can’t sit still for three god damn seconds.

“That’s pretty cool. You’re huge.”

Jason hates him. He hates those stupid fucking curls. He hates that stupid bubbly energy. He hates that fucking earnestness, that eagerness to please. He hates that goddamn costume.

He hates the way the kid clings to Bruce’s shadow.

He despises that hand Bruce has on his shoulder.

The poisoned apple (far from the tree) - inanhourofdreaming

“I mean, your first mother wasn’t…fuck, how do I say this?” Tim pauses to breathe. “You’ve never met your mother, Jason. Her name was Ophelia Frump.”

Where Jason has blood family after all, but they’re a little, well…weird.

The legends and the myths - Syngaly

Jason Todd is the best liar Bruce’s ever met.

Jason Todd is the worst liar Bruce’s ever met.

It’s a problem.

Unspoken Rule - YukinaZero

In an alternate universe where Jason Todd finishes his training with the League of Assassins and simply returns home, Damian asks him why he has never confronted Bruce on the matters surrounding his death.

Or: Jason and Daimion have a heart to heart, and I fail miserably in an attempt to write angst.

You’re Alone ‘til You’re Not Alone - WorkingChemistry

Dick has moved to Bludhaven to get away from Bruce and is doing his best to establish himself as Nightwing. It’s going well, but it would probably go better if he didn’t come running every time Bruce calls.

This time Bruce needs him on babysitting duty, and it’s not just for Gotham. Bruce has League work, Jason can’t leave the state, and Alfred’s on vacation so that leaves Dick to pick up the slack once again. Jason isn’t pleased with the situation either, so there’s that… Dick’s just hoping he can bribe Jason into spending the weekend in the library so he won’t have to deal with the prickly boy.

Then they find evidence of a prostitution ring sending young children into forced heats and kidnapping them. Can they set aside their issues, or is Roy going to be stuck playing referee the whole time?

Familiar Faces - firefright, Skalidra

A mission to save a group of slaves from auction goes swiftly wrong when Jason, a former slave himself, runs into a familiar face while undercover at the party preceding it. And unfortunately for both him and his partner in crime, Dick, Slade has no intention of letting his property go again.

Want - Take - Have - daemoninwhite

Dick presents as an alpha and eventually leaves. When Bruce takes in Jason, he decides to do everything in his power to stop history from repeating. (Bruce will never be alone again.)

Mutually Beneficial - scandalsavage

Jason knows who Slade Wilson is and that he should stay away from him.

He knows the man is a vicious competitor of his father’s with a business ethic firmly in the dark gray to black side of the spectrum.

He also knows that his older brother drank too much one night, while he was in college, and fell for Wilson’s sweet talk, whatever that could possibly sound like, and that the older man still, years later, finds ways suggestively drop Dick’s name into conversations with their father.

So when he sees the man’s signature white hair and eye patch approaching his position at the bar, Jason makes a real attempt to avoid him.

Take Your Finger Off The Trigger - Skalidra

Jason Todd was Talon, the enforcer and right hand of Owlman, right up until he was killed. But then, when he comes back to life and his killer is still running free, with no sign of mourning by the two people who always claimed he was theirs, his agenda changes. He becomes Red Hood, a mercenary bent on taking down any and all operations run by the Owls. Finally, one of his jobs lands him back in Gotham, and he comes face to face with his two former allies.

Happy Reading.

[clorofolle]

There is just so much wrong going on here and it makes me so mad.

First off – of COURSE the anti whaler activist is white. Of course he is. He is the member and descendant of the same population that gave this boy's people hell, and he upkeeps his family traditions splendidly, it seems.

Agragiiq even tells about how climate change is making their hunting expeditions harder. When we speak about “anthropogenic climate change” we often fail to mention about how not every population contributes the same to this event. Wanna guess which of the two cultures at hand is more responsible for fucking the other over?

Then – there is the touchy topic of veganism. I want to preface with saying I like veganism (and vegetarianism) as a practice – for us first world citizen who eat way too many low quality animal products in the first place, and whose entire culture has shifted “eating animals” into “making factories to maximize profits from animal consumption”, contributing a little less on that is all in all a nice thing to do.

But yeah, here's the catch. Humans did not evolve to be vegan, just as humans did not evolve to be part of an hypercapitalist society based on profit and nothing else. Veganism feels, to me, like a natural response to a way of living that's... completely unnatural, that feels *wrong* to us because it is. We're so detached from the food we eat, only having vague notions of the kind of hell that the meat industry is (both for the animals and the people employed in it). So I get why the few people that don't try to look away take radical stances of “I'm not touching animal products again, that shit is evil” - and how, little by little, it transforms into “eating animals is evil”. What allows this distortion, I think, boils down to the disconnect between an abstract idea (killing = suffering = evil?) and the actual real world, which does not allow such black and white thinking.

But, like. Up until very little time ago, nobody but a few hyper empathic individuals would've taken veganism seriously. Because humans, as funky little animals just like any others, evolved to be part of a complex system in which they were sometimes prey, but more often than not predators. When they were not gathering they were hunting, and sharing this super nutritious food with they people they loved. Because yes, if killing another animal means you and your loved ones get to live and grow strong, a human will almost always do it. That's how we survived this far. That's how every predator survived this far.

Then some populations that had access to specific animals that could be tamed invented farming – which was super helpful in terms of population growth and colonizing other places all that jazz. Other populations that did not have access to farmable animals went on hunting, stayed small.

And now after millennia, the child of the culture that invented farming and turned it into hell and then created a counter movement that says “animal consumption is evil” is trying to give shit to the child of a culture that hasn't shifted one bit in their practices. The joke about this too being colonialism, thinking you're once again the “better population” and exporting your rotten ideas elsewhere writes itself.

And yeah, that's another thing I'm really passionate about and that drives me so mad.

The disconnect. Marx would say the alienation, haha.

While young Agragiiq grew up tagging along hunting expeditions since he was no more than a small toddler, learning first hand what it means to be a living breathing piece of a complex system, Watson allegedly was a member of the "Kindness Club", which he has credited with teaching him to "respect and defend animals".

Just look at it - the disconnect between an entire people whose lives and livelihood is in fact based on respecting and defending nature – for it's the same nature that will feed them – and a kid growing up in a regular town and being taught abstract, philosophical notions about all of this, while never actually partaking in it.

Like, man. I'm as much an outsider as him – I've never hunted for sustenance, I live in a huge ass city. But between a random guy who thought some cool ideas about what it means to "respect and defend animals" and an entire culture that's been doing just that and more for over 2000 years, I know who I'm gonna trust on the matter.

It reminds me of the stories my mother tells me of her farm life when she was little. Of how they butchered the pig once a year. And how she was sad, because she always had an unusual empathy for animals – but still it was a feast, a party; she and her sisters would be in charge of going around gifting the entrails to other families (they must be eaten quickly lest they spoil). And of course the other families would return the favor once they butchered their pig – it was all coordinated to ensure everyone could help everyone else and nothing would've gone to waste. Here in Italy it's an entire saying - “nothing of the pig goes to waste”. Every part of meat was smoked and hung and would last an entire winter; muzzle and legs would be eaten as delicacies as would every entrail, the blood was used to make a super nutritious sauce for pasta, the fat used for cooking and preserving other foods. Even the bristles were used for making tools.

There's people out there that want to claim that it, too, was evil. That the discomfort my mom felt was hinting at the fact that we're not meant to kill and eat pacific animals that did nothing wrong! Unable to comprehend pain and death as anything else than punishments, rather than... just plain events, ubiquitous in nature.

There's this guy whose videos I watch, a science communicator in the field of nutrition. While talking about the importance of well balanced, omnivorous (but still plant-rich) diets, at once he gave as an advice to all the meat eaters to try at least once in their life to hunt or butcher even just a small animal, and then cook and eat it. To get back in touch with where the food we're eating even comes from. To be honest with themselves, familiarise themselves and make peace with the idea they are eating a dead, once living animal.

I adore animals. And in my life, I hope to learn how to raise chickens, and to learn the courage needed to butcher them. I hope there'll be a time in my life when, like my aunts that still keep animals and a bit of land, I won't need to buy meat and eggs from the shops again, and rather gift them abundantly to my loved ones as well. Because, like. Food is life and food is love and every human knows this deep down. Every human can find in themselves to understand that this boy committed the most human possible act of love while killing this other living being. He gave his village so much food and prosperity. And canadian clubs be damned, THAT's the kindest thing of all.

Re-Blog to support Native hunting rights and fight against individuals who don’t understand our Indigenous cultures. 

[crazymecjc]

Quotes from Mary Poppins

So I was in Mary Poppins this summer and it was the best show I've ever done, it was also one of the funniest backstage experiences I've ever had so here's some quotes from rehearsals :)

I'm referring to everyone by their character names except if they're my friends yeet

My friend Miranda, staring me dead in the eyes: “Cannibalism."

Both of us simultaneously: "hmmmm”

Miranda, frantically: “Do you want some.... boNeLesS AiR”

(She then proceeded to research if boneless air was a thing for like ten minutes)

Me, angrily: “buT wE hAvEnt had our mILK”

Honestly idk who this was: “What is in your boob?”

(Context: we were all volunteering at a meat raffle, which I didn't know was a thing before then but ok)

The guy in charge of the raffle: “If you’re selling tickets, stand up”

*everyone simultaneously drops to the floor*

Guy running the raffle: “Hors d’oeuvres is not a person”

The same guy, a half hour later: “I’m not trusting you, because you said hors d’oeuvres were a country”

The radio:“I’m looking for some way to bond with my kids” Miranda, whispering: “Mr. Banks?”

My friend Anthony:“That’s like the worst way to reduce reuse recycle”

Miranda during rehearsal for Step in Time, pretending to be on Disney Channel:“Hi, I’m a low class citizen, and the only time I see the light of day is at night”

Anthony, sinisterly:“We’re all dead bodies in the end”

Anthony, in the car: “Smells like... g g g g g g g g g g ggrravy”

Miranda:“buT THEY TORE MY spinal cord.... aGAIN!?!?!”

Anthony, walking out of rehearsal:“It smells like a hot dog out here”

Me:“mE”

Anthony, incredulous:“you smell like a hotdog?!?”

Also Anthony:“My uvula is quook”

My friend Maddie, who we all call Marcy bc that was her "character" for the show and it stuck:“Why do you guys know what windex smells like??? Hello???”

Miss Andrew: “You don’t smell windex? What’s wrong with you???”

Anthony, in the car, shouting:“sTEP AWAY FROM THE GOODS”

Anthony, discussing Into the Woods:“I feel like Little Red is sort of like Smeagol”

Me: “There’s a whole family standing in the middle of the road??”

Anthony:“Are they ok?” Me:"They’re not even crossing, they’re just chilling.”

Anthony to me, while in the fake plant section at the craft store: “It’s like you’re trying to get into leaf Narnia”

Miranda to me: “You look like the Kool Aid Man”

Anthony, to me:“Go onto stage like ‘OoOh yEaH”

Anthony, to the tune of one of he songs:“Reeeedd Robin, Yum!”

Miranda, dramatically crossing her legs:“I’m a fucking queen” *mouth pops*

Miranda calling after me on my way out the door:“Wait I’ve gotta tell you a secret “ *whispers in one ear* “the snack that smiles back” * in other ear* “goldfish”

Me, singing:“Someone is returning”

Miranda:“the demons in my house when I’m coming home”

Miranda, in a whisper:“Mary and Bert look like they’re gonna fight”

Anthony, in the car: “No one is alone.. that’s kinda scary”

Anthony:“When I was young, I ate people”

Miranda:“crispy”

Miranda, in the car after a long rehearsal, exhausted:“Can we play some tunes? I don’t want some hard tunes tho, I want gentle tunes”

I honestly don't know who this was, probably Anthony:“Why are you discriminating against whales?”

Miranda, with jazz hands:“Just a spoonful of... pizazz!”

Miranda, a few minutes later:“Just a spoonful of soot helps the depression go down”

Miranda:“What’s the month after January?”

Me, sister struggling:*counts on fingers* “October, November, December, January, feBRUARY”

Anthony,:“Doesn’t it smell like cat food? Oh no that’s McDonalds”

Anthony:“You smell like Cheerios.”

Me:“Thanks????”

Mary, standing by the roof set we had:“Bert, you look like a cat”

Bert, on the roof: “meow”

Marcy, working on her character:“I’m doing research... drug research “

Marcy, trying to explain her character to me:“Marcy Tippetome is a drug addict. But she’s addicted to Tylenol”

Bert:“Bloody hell”

Michael:“sTOP THERE ARE CHILDREN “

Bert:“well you’re the one who keeps pretending to shoot people on stage”

Anthony, singing:“Someone smells like celery!!!!”

Anthony, moments later:“So I was in my room and my body collapsed”

Miss Andrew:“In 20 years I’ll be like ‘hey, you owe me a soda kid’”

Michael:“I’ll be dead in 20 years”

Mr. Banks:“All hair is dead”

Miranda:*bad Italian accent* “would you like some rigatoni???”

Anthony:“Spit the alcohol out Marcy”

Miranda, ranting:“The government can leave. I only know... I don’t know English”

Miranda, reenacting the Sound of Music:“Donde es Maria??”

Miranda and Anthony:*speaking in simmish for ten minutes*

Bert:“I’m gonna hiss. Like a cat. Meow.”

Mary:“Bert, I’m done with you. Jump off the rooftop.”

Probably Anthony??? I don't know:“My name is Margaret, and I like cheese”

Me:“Michael who? I only know mILK”

Anthony:“Remember when I asked what century it was?”

Anthony:“There’s blood on my finger”

Miranda, deadpan:“blood is the cure”

Me:“There’s something in your pocket”

Anthony, nonchalantly:“it’s just a chair”

One of the statues:“Ohmigod who’s on your phone screen Anthony?”

Anthony:“I’m gay”

Anthony, staring into the distance:“Death is my cure”

Anthony, moments later:*valley girl accent* “I’m gonna die”

Miranda, disdainfully:“I never had emo phase. I didnt want to associate with tHAT”

Me to Anthony because he had to wear this frog costs and it was skintight: “Dicks out for Mary Poppins”

Anthony, giving Mrs Banks a hug:“Hi mom!”

Mrs. Banks, deadpan:“did I give you the permission to touch me?”

Anthony, after we went to Wendy's:“Oh my gosh there’s a spoon between my legs! I just wanted my phone and I reached down and then... there’s ice cream on my crotch”

Also Anthony:“I was exhaling really intensely the other day and my tongue started flopping around”

My little brother right before tech week:“Dress rehearsal?? More like stress rehearsal”

Anthony:“Marcy put the Tylenol DOWN!”

Miranda:“Noooo, she’s doing cocane”

(I swear we're good children I'm sorry)

The lady who played Queen Victoria, approaching Miranda:“Can you blow into my eye?”

An ensemble member:“Don’t choke me”

Mr. Banks:“I don’t even know you yet”

Miss Lark, handing someone her dog puppet:“Here, hold my bitch”

Literally all of my friends: *simultaneous “it’s poppin”*

Who knows, but now we all say it:“Rest IP”

Anthony, buying frozen yogurt at the mall between shows:“Is chocolate supposed to be crispy??”

Me, dying inside because I thought it would be a good idea to leave my show tights on while we went to the mall:“Oh No tHeReS SorBeT oN mY TigHtS!?!”

Ok backstory: we had this table for Spoonful of Sugar that is supposed to break and then magically repair itself. So it's motor powered, and so far it's been working great. Fun! So the last night of the show arrives. I accidentally sweep the guy playing Robertson Ay because he's on the floor, so we're already dying. Mary goes to fix the table, and it goes as planned, only to revert back to broken a moment later with a bang. I'm breaking character, and trying to keep singing, but I lose it bc out stage manager offstage, sounding completely dead inside, goes:“Well, there goes the table.”

????:“Why is it wet??” Anthony:“Because I salivate”

Michael, on his way out the door on closing night:“Keep it poppin”

(I cried)

Other notable moments:

This girl started crying about cows in the middle of rehearsal bc she loved them so much

The guy who played Mr. Banks did origami and he made me a dragon

The lady playing Mrs Andrew would regularly balance chairs on her chin

I had to pretend to rip a dolls arm off and the second night I actually ripped its arm off oops

One night I forgot to preset said doll, so it didn't have an arm for a full scene

We'd been joking about building a fort in the dressing room for a while so on the last day, we walked in to find Mrs Banks surrounded by chairs. "It's Fort Banks." She said. Someone had blankets in their car and suddenly there was an actual blanket fort in the dressing room

The girl who played the messenger would write letters to Mr Banks to read during the shows. One of them was about robbing a bank, I think??? She gave him her address and we're still waiting for a reply for the final letter

The flying equipment got caught on the lights one rehearsal and Bert almost died

We'd sing Feed the Birds for warm ups sometimes and I'd cry. every. time.

We were in the Disney store, and the Mary Poppins trailer starts playing as we’re buying Mary Poppins shirts, with Mary Poppins shirts already on

[joannalannister]

I've seen you reblogging Jon/Dany stuff and I'm curious how likely you think that level of love/romance would be in the coming canon. Even putting aside whatever state Jon is going to be in post-resurrection, I'm not sure their past relationships suggest that each would be the other's type for instant attraction, and I don't know if they'd have time to develop much of a relationship what with the oncoming winter apocalypse. Or is it just a ship people like the idea of but don't expect?

Oh no, I don’t think the all-American, crewcut, boy-next-door Jon Snow we’ve seen in AGOT - ADWD is Dany’s type for instant attraction at all! 

Dany’s the type who likes rockstars with wild hair, and the power and danger of a big ol’ Harley-Davidson between her legs. She’s looking for a maverick fighter pilot from Top Gun to ride one of her dragons.  She wants a rebel with a cause, not a lost, grieving boy. I don’t think the Jon Snow we know is the type of guy Dany’s looking for!

But Jon Snow died. ;)

In the words of the King, “The person you put up there ain’t the person that comes back. It might look like that person, but it ain’t that person” (Pet Semetary). “Resurrection… ah, there’s a word (that you should put right the fuck out of your mind and you know it).”

GRRM has said that “Death is hard.” It changes a person. Look at the Lightning Lord. Look at Lady Stoneheart. They remember, but they’re not the same people anymore. I think Jon Snow, after spending some time in Ghost, is going to come back wilder. More reckless, more dangerous, more … rockstar. So I think Dany will find Jon very attractive. 

(from Jesus Christ Superstar) 

(Will TWOW please come out soon, because my ASOIAF / pop culture analogies are getting wilder and wilder.) 

So anyways, you can’t just “put aside” Dragonriding Rockstar Jesus Jon Snow and his Resurrection, or his Freefolk Groupies on the tv show, or his tv manbun when considering the potential for Jon/Dany. The resurrection – and the change it will bring – is a big reason why I think Jon/Dany has potential.

So how likely do I think there will be love/romance between Jon/Dany in canon? I’m certain of it. I think Jon and Dany will grow very close as they fight together to save the world, and I think that’s a beautiful thing. I’ll wager money on Jon/Dany falling in love in the books before the end of ADOS; any takers? First come, first served. 

I’m not saying there won’t be issues Jon and Dany need to work out, or that they’re just gonna say “Hi” before asking each other to winter prom so they can bang on the backseat of a dragon. 

I’m not sure their first meeting will go smoothly, or end well.

I don’t know the lay of the land for this journey GRRM is going to take us on. 

But I feel very strongly that our destination is Jon and Dany being in love before the books end. I don’t care how cliched, how trope-y anybody says it is; GRRM loves this trope-y, cliched fantasy shit. (I love it too.)

Do you remember Vaes Tolorro? Dany ate a peach in ruins bleached bone-white by the sun. The juice stained her cheeks as she ate, “so sweet she almost cried.” Vaes Tolorro is one of my favorite places in ASOIAF. It was cut from the tv show, because it wasn’t significant to the plot. 

It’s thematic significance is paramount, however. Vaes Tolorro is about life. It’s hope, in the midst of rack and ruin. It’s about standing in the shade of one of those white buildings and looking out at that sun-drenched Red Waste, at that endless sea of death stretching from horizon to horizon, and saying, “Not today. Not to-fucking-day.” It’s a glorious city, even in ruins. It’s defiant. As glorious and defiant as Casterly Rock in its own way, and I can speak no higher praise. 

“From the ashes a fire shall be woken, A light from the shadows shall spring” and all that jazz about hope and life and rebirth. 

To steal the words of Robert Jordan, “Almost dead yesterday, maybe dead tomorrow, but alive, gloriously alive, today.” 

That’s what Vaes Tolorro is all about. 

That’s part of what ASOIAF is all about: “I’m alive. I’m still here, I’m up against the impossible and I’m still trying, I’m still breathing, I’m still standing, and you’re not going to treat me that way anymore. My life has meaning, my life is valuable, and you’re not going to treat me like a kicked dog. I’m alive. I’m a human being. And don’t you forget it. Because I will prevail.” Whether the “you” is a man as small as Randyll Tarly or a force as big as the Others, it doesn’t matter. To each and every one of them, what do we say? 

Not today, motherfucker.

That’s what GRRM is saying when he writes paragraph-long descriptions of food that make your mouth water, and songs to make your heart ache, and yes, love and sex. 

Every morsel the characters eat, every voice lifted in song to ask the Gentle Mother for mercy, every “often and unpredictable” kiss … it’s a celebration of life. 

And every celebration of life is an act of defiance against the Others who would destroy all life on Terros. Every kindness, every act to humanize one another … it’s a bulwark against the Others. Every time the Tywins and Tarlys and Boltons of the world work to dehumanize another person, they’re aiding the enemy. They’re traitors to life itself. 

(I could go on and on about this “celebration of life” for every story GRRM has written, but I’m restraining myself.) 

I don’t know what Jon and Dany (and Tyrion) need to do beyond the curtain of light to save the world. But I don’t think it’s something as simple as “We have to put this obsidian rock on the crystal throne” or something like that. I think whatever they have to do will be something more thematically important, something that is a celebration of humanity. 

When they go beyond the curtain of light, Jon/Dany is Vaes Tolorro. They’re an oasis of life, surrounded by death in the stronghold of the Others. Intimacy between them is the most life-affirming thing they could do, and that’s what the series is all about. 

I’m not saying Jon and Dany are gonna fuck to save the world but … I think Jon and Dany are gonna fuck to save the world. Or at least that’s going to be part of it. I’m not even particularly emotionally invested in this ship (where are the Lannisters?), but a Jon/Dany romance is simply the logical conclusion imo. 

“A blue flower grew from a chink in a wall of ice, and filled the air with sweetness… .”

“We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy.”

I think Jon/Dany is something glorious, something transcendent, but it’s also something sad imo, because I think they’ll die doing whatever they have to do. 

(Also Tyrion needs to learn to love himself and forgive himself, and I think that’s also a part of saving the world, but that’s not what this post is about.)

******

You mention that you don’t think there’s enough time, but I have a couple things to say to that:

1) GRRM can build a whole world in two paragraphs. Despite the verbosity of ASOIAF, he can tell a whole complete, emotionally-satisfying story in 10 pages. Give him one Dany chapter, and I think we’re good to go.

2) I’ve said it before, and I’ll say it again: I think the place beyond the curtain of light is like the Fairy Realm and we don’t know the rules of such a place. Does time flow faster or slower there? Does time have any meaning at all there? We don’t know. If precisely nine months have to pass “under the Fairy Hill” while 9 minutes pass battling wights at Winterfell to make whatever needs to happen happen, then that’s what GRRM is gonna do. *shrug* We don’t know the rules. The rules of such a place are whatever GRRM will make them.

So I would say that there’s however much time GRRM needs to tell Jon and Dany’s story. 

As I’ve said elsewhere, I think the Iron Throne is going to be melted down, I think Jon and Dany are both going to die while saving the world (I will put money down on Dany dying, at the very least), and I think the Seven Kingdoms are going to break apart into separate kingdoms.

So I don’t think we need to worry about the “Afterward” for a Jon/Dany romance. It’s like if Frodo died in the lava when Barad-dûr collapsed in the movies. idk how it will play out tho in ASOIAF. Maybe after the “Fairy Hill” of the Others’ “collapses” for lack of a better term about what’s going to happen there, it spits mortally wounded Jon, Dany, and Tyrion out at a place of power, like the God’s Eye, idk, maybe it will be like GRRM’s Laren Dorr story. Anyways, maybe nine months have passed in the “Fairy Hill” while only a day has passed in Westeros, and Dany gives birth to a child before dying? Really, I don’t know, this is just me throwing wild suggestions out there. If GRRM really does make them have a kid, I definitely think both Jon and Dany are dying, but I’m really not sure if there is a Jon/Dany child in store in ASOIAF. 

I feel certain that Jon, Dany, and their potential kiddos are not going to be ruling Westeros in endgame. (I’ll put money on that one too. I’m gonna be rich as a Lannister if anybody wants to take me up here.) Any cute Jon/Dany+kids art/gifs I reblog is purely because I think it looks like a sweet and fluffy AU totally unlike anything GRRM will do. I really, really don’t think we’re ever gonna see any Jon/Dany family time, either together or one of them as a single-parent. (That’s what fanfic is for, friends.)

******

I could use this space to make a list and give you quotes to “prove” that “Jon likes THIS quality in a woman and THIS quality and THIS one” and then I could give you quotes proving how Dany possesses those qualities

but

1) I honestly don’t care. I’m mostly here for ASOIAF themes, and when I shake my magic 8-ball of ASOIAF themes and ask it, “Will Jon and Dany fall in love and bang?” it returns an answer of “Outlook Good.” 

2) GRRM is gonna change Jon to fit this, whether it’s the resurrection, or spending 40 days and nights in the deserts of Dorne, or whatever the fuck else is happening in twow

3) Jon’s headspace is not one I prefer to spend time in.

4) plenty of other people have probably already made such a list. (Feel free to link me, people!) Lots of people are way more emotionally invested in Jon/Dany, so if such a list isn’t already out there, I’m sure someone will write it. 

What I will use this space for is to mention GRRM’s short story The Way of Cross and Dragon. Because GRRM literally wrote and published a Bible AU with dragons and Judas in love with Jesus, let’s not forget that while considering Jon/Dany and the betrayal for love, I’m not even joking.

because Judas had loved Him so, Christ gave him a boon, an extended life […]. Once Dragon-King, once the friend of Christ, now he became only a blind traveler, outcast and friendless, wandering all the cold roads of the earth […] 

And Peter, the first Pope and ever his enemy, spread far and wide the tale of how Judas had sold Christ for thirty pieces of silver, until Judas dared not even use his true name. […] 

Christ promised that He would permit a few to remember who and what Judas had been, and that with the passage of centuries the news would spread, until finally Peter’s Lie was displaced and forgotten.

GRRM says he is a “recycler” of stories, and I’m interested to see what GRRM is going to do with Jon/Dany. I like the idea of it, and I’m totally expecting it to become canon during the apocalypse.

tbh this makes me sound more interested than I am, when in reality it’s like, I’m interested in Jon/Dany simply because I’m interested in the ending of ASOIAF. Because “Jon/Dany” and “ending” are synonymous in my mind. 

But I would literally forgo ADOS in exchange for more information about Casterly Rock and House Lannister. (A large amount of information, but still.) House Lannister for life, what can I say?