#marvel parallels and themes

[pendovah]

We are all lonely. I sometimes think that that is all that life is. We're just fighting not to be alone.

[age-of-moonknight]

“Blood Moon, Blood Brothers,” Phases of the Moon Knight (Vol. 1/2024), #4.

Writer: Tom Waltz; Pencilers and Inkers: Ken Lashley and Brian Level; Colorists: Dono Sanchez-Almara, Erick Arciniega, and Antonio Fabela; Letterer: Cory Petit

[52frogs]

Spider-Man (Raimi) | Mr. Brightside (The Killers)

[whencartoonsruletheworld]

candace flynn is THE most teenage girl character of all time. she is at level 100 anxiety 24/7. she shows her love for her brothers by trying to get them in trouble constantly. her neck is as long as her forearm. she features on a blues album after having an allergic reaction. she has a shrine to her boyfriend in her room. she can't live without her phone. she has a panic room in the basement. she plays 20 instruments that all start with the letter B. she read all of sherlock holmes in one night. she's seen their platypus running around as a secret agent more than once, assumed she was hallucinating each time, and moved on with her life while telling no one. she likes wrestling video games. she was rutabaga princess. she has a billion people to email memes to but when she's trying to think of friends she can only think of four people and one of them is her mom. most animals hate her except monkeys. she invented grilled cheese flavored ice cream. she pretended to be irish for a week. she's autistically obsessed with her universe's version of barney. she writes marvel fanfiction. she does parkour. there's an entire archive of her voice actress screaming just in case her voice ever gave out while recording. she sees her brothers build time machines and rollercoasters every day but doesn't believe in santa. when she starts scheming the wicked witch of the west theme starts playing in the background. she was elected queen of mars. she won a "mayor for the day" essay competition. there's a random person in town who's been avoiding her to the point she doesn't know he exists. she learned how to parallel park by driving a monster truck. she thinks the plural of moose is "meese." she tracks her mom with a GPS. she doesn't know her little brother's full name. she's scared of heights, spiders, and the number seven. when her boyfriend told her he'd call "soon" she started doing complex math to try and figure out when exactly that would be. her first thought upon seeing her royal doppelganger was to go to the laundromat and fill all the dryers with cheese. she earned 50 not-girl-scout patches in one day through sheer determination. she can run fast enough to catch up to moving cars. she can sense when ground is broken in the backyard and when people are judging her. one time she got her face caught in the sink. her brothers carved her into mount rushmore. every now and again a magical zebra appears, calls her kevin, and then disappears again. she killed 99% of an alien invasion with a t-shirt cannon. in an alternate universe she's leading a regime-destroying resistance at the age of 15. she's being accidentally gaslit every day of her life.

[nipuni]

Alright, time to share my opinions about Veilguard!! I have both criticism and praise so bear with me as I jump from one extreme to the other 😆 spoilers ahead of course!

The game has a very rough start with the dialogue being formulaic and rushed and the characters overexposing. It feels like a heavy handed attempt at summarizing all of previous games' lore for newcomers or in case you forgot but it's so overdone it feels coddling and trivializes a lot of previous events. Luckily this gets better once all of the introductions are out of the way, though the excessive hints and clarifications continue until the end sadly.

The locations are absolutely incredible and very diverse!! This is a highlight of the game for me. There is so much detail and care in every map and there are so many of them. My pc is struggling to reach medium settings and yet everything looks stunning. The verticality of the maps is so imposing and the graphics have a very dreamy quality that I love. I also enjoy the maze-like structure to the maps, it's more linear but makes everything look a bit more intentional. The color and light direction was amazing, all the visual development really!! it has to be one of the prettiest games I've ever played.

When I started I have to admit it did not feel like I was in Thedas and it all felt a bit theme-parky, if that makes sense. A lot of previously important and established world elements that made Thedas what it is were overlooked or made irrelevant. But the more I played the more it started to feel a bit more similar to Inquisition, for better or worse depending on what you feel about Inquisition. But!! this also feels like a selectively sanitized version of Thedas compared to previous games. In it's attempt to stay safe and uncontroversial in some aspects it loses a lot of substance and it changes the tone. The surface level politics, ignoring previously established major societal issues and a tell-don't-show approach makes the world seem more simple and shallow with no grey areas to explore. ( the humor also falls flat and out of place often too, and WHY is everyone always smirking, enough!! godlike beings are destroying the planet please this is not the time for Marvel banter aaaa )

The pacing at the start is a bit of a mess. It is so fast it felt like jumping from one world shattering discovery to the next with no time to process. The characters also seem to underreact to important information and major developments. It felt like the game was rushing me through all this to get to the part of the story it wanted to tell me while I was still wrapped in my shock blanket trying to catch my breath lmao. I really like all the key story points they touched upon, I just wish they dwelled more on them to give them more narrative weight. ( though blaming every bad thing to ever happen on the Elves was certainly..a choice )

I think the writing could have used more subtlety in the first half and more boldness in the second 😆 but I loved the thematic parallels between Rook and Solas and how every quest informs the main storyline. I do wish Rook was given more impossible choices and put in more difficult situations that forced them to lie or betray their own to better drive the point home though ( listen I just love a Trolley problem!! we need more of those, I'm the Trolley problem's number one fan!! ) I feel like they missed the chance to put Rook in Solas' role and be as vilified and hated for it as Solas was despite their best intentions which would make Rook's regrets stronger and in turn make their escape from the fade all the more impressive and give them a better understanding of Solas to either use against him or earn his respect. The line 'they called me the Dread Wolf, what will they call you when this is over' from the trailers was so good I was waiting for this!! But everyone just loves Rook no matter what!!

But I feel like I stated too many negative aspects in a row so moving on to some things I enjoyed!

The characters were very lovable to me. The romances weren't as long or impactful as I would have liked but I enjoyed all the companion quests. Emmrich is a delight and his quest is so wild and fun. I loved learning about Nevarra and I was awestruck by the Grand Necropolis. The mourn watch was so interesting, it showed a whole new side of Thedas' lore I knew nothing about! and I loved Manfred! Davrin is so charming, he became a favorite. I loved his quest too and learning more bits and pieces about the Dalish was great, I wish we got more. Seeing the Wardens through his quest also made me enjoy them a lot. Assan was very cute too and I'm glad he was treated as an animal and not turned into a goofy Disney sidekick too much lmao 😭 Lucanis is hilarious. The fantasy Spain/Italy was a bit silly and off at times but he is very sweet! and I love the Spite possession, that was so fun I'm glad they kept him that way! Bellara is adorable, her first backstory quest made me cry and I just love a nerd! I wish the second part of her story was written better however, and she sort of devolves into 'it's hard, I wish it was easy but it's hard' dialogues too often sadly. Anaris and the Forgotten Ones' portrayal was underwhelming and anticlimactic which was disappointing. Harding is also very cute and her Titan plotline was the most interesting to me, I bawled my eyes out in her quest!! I love the dwarven lore of this universe I'm so happy we got more of it!! ( she also fucking died in my playthrough?! I was devastated what the hell 😭 'whatever it takes' WEUEUGHHHG I'M SO SORRY) Neve was a slow burn for me because of my choices in game slowing that relationship down ( saving Treviso I mean, perdón amor 🙏 ) but I love detective novels and she is such a badass I ended up loving her. Taash was unexpected, I didn't think they would be so young. The coming of age story was sweet, though I found myself cringing a lot too at the handling of it I have to admit ( and the Lords of Fortune in general, and the Antaam...and que Qun..listen- kajshfgf ) but I also enjoyed learning more about the first expedition and the Qunari in general despite the messy writing and choices. I also loved Antoine and Evka! and Strife! And I haven't even read any of the novels they are in 😆 also Mila!!!! and her dad oh my god and Felassan haunting the narrative!! speaking of haunting, I would have loved for Cole to be in the lighthouse too I think it would have worked well 🤔 especially with the whole 'reading Solas' secret diary' thing the game had going on lmao

Everyone seems to get along except for a bit of friction that is quickly resolved at the start, which is hmm missed potential? I would have preferred more tension personally. I enjoy the drama! gives me more to work with and gives you a better grasp on everyone's personality by contrasting values. I think they wanted to speed run a found family trope for the new hero to establish some emotional stakes early on but it ended up making everyone seem like a group therapy session instead. The group meetings also have everyone either state the obvious or repeat the same opinion or conclusion to each other, I would have loved these meetings to have more bickering, have people get mad and storm out and also get to listen to different takes on a situation. Make Rook struggle more to take the reins and keep the team functional, learning how to be a leader.

Speaking of Rook! ( who in my case has a northern British accent that I loved so much 🥺) They seem to have a very established personality. I was expecting more of a blank slate but I'm lucky that the personality they went for kind of matches what I would normally choose in a first playthrough. Though the lack of range in the choices is irritating and takes away some replayability and role playing potential. Rook is very supportive and selfless, I wasn't expecting this tbh! But it all made my Rook turn into the team's weird supportive necromancer mom so it worked out in the end I guess lmao. I can't wait to draw her!!

I was so overwhelmed by the amount of information we got about Solas and his past!! I was expecting answers but not these many and not for them to be such an integral part of the plot!! The game feels like it's about him more than anything else. His arc is the best written out of all. He is mentioned in every conversation, he's the main advisor and the narrative foil, you get to talk to him often, you work for him and with him and go into his memories it all feels so surreal to me lmao I love him so I'm delighted ngl! but also making the other Evanuris so cartoonishly evil makes Solas into such an obvious choice of an ally, god of trickery or not, that it sort of takes the decision out of your hands and makes some dialogue options and companions' opinions seem almost nonsensical. I have no idea how this game would feel to someone who absolutely hates Solas' guts honestly. I suppose I will find out soon enough 😆

About Solas' story, I loved it! I somehow also feel that I knew it already, all the speculation and theories that Solavellan fans were crafting for years were so accurate that it was all very validating. Even the wildest ones! Solas as the Maker, the elves spirit origin, Mythal giving him a body, the war with the Titans, the origin of the Blight, Solas being on your side as advisor, I can go on, we knew!! Also I have to mention this I'm sorry but they made him look so hot!! unbelievable. And the bloodied teary eyed pathetic look in the end ouurghhh I'm cheering and clapping!!

The romance conclusion was so lovely 😭 the Loki and Sigyn ending we deserved to such a mythological epic!! and open ended enough for all of us to cook!! and we got to see him fight and transform into the Dread Wolf!! and whimper and cry!! and bleed and love!! that's all I ever wanted, incredible we were really spoiled what the hell I still can't believe it 😭 GDL acting was brilliant as usual! the visuals were also incredible and exactly what I had in mind when I imagined where the story may go, the eclipse, the giant wolf, the glowing eyes, the Elvhenan ruins, the statues, even the hair lmao it all aligned exactly to what I've been painting all these years but better I was thrilled 😭

Solas backstory with Mythal also offers players that didn't romance him a chance to see him act out of love and show a side they wouldn't be able to reach otherwise and I think it was smart! also very tragic and sheds more light into all of his choices and words and his relationship with Lavellan too and the parallels and reversals and uughh thoroughly enjoying the emotional distress 👌

Pleasing both the Solas lovers and haters at the same time was always going to be hard with him being such a polarizing character by design and the world states being so different but I think they did a good job! at least from my side of things.

I think my favorite part besides the Solas related stuff was the Blight. I loved how horrific and gross and threatening it was! I've always loved the concept of the Blights and I'm glad it was such a huge part of the story in this game. I also loved Treviso!! has to be the most beautiful city in Thedas ahhh and the Necropolis!! the gardens!! Vorgoth!!! Kal-Sharok!!! I can't believe we got to see it!! and a Titan!!! the giant floating face of Ghilan'nain in the clouds??? and the huge archdemons and dragons!! oh and that warden dragon trap in the shape of a griffon?? and the giant blight tendrils!! the siege at Weisshaupt was outstanding!! and the floating panopticon castle situation in Minrathous uughh there is so much I loved.

OH I also enjoyed the Varric arc even though I saw it coming since the trailer it was still played well and it was touching 🥺

The ending felt a bit jarring to me in tone though, a bit too cheerful considering...the horrors. Over half the continent destroyed and most of the problems Thedas had before the game are still there. Veil in place and all 😆

But I had fun!! I'm nitpicking really, the conclusion to Solas' story feels very satisfying to me which was my main worry so I'm happy. It is a good game!! with a sort of soft reboot feel to it and aimed at a younger audience which is probably what they were going for? You can sort of feel the struggle the team went through during production in the way the target audience seems unclear sadly. I also can't help feeling like this is an ending, so much was revealed and resolved!! but maybe I feel that way because that is what I felt after Shadowbringers / Endwalker in FFXIV once my favorite part of the story was wrapped? They can always pivot to a new continent and expand on the world and cultures we know almost nothing about, but that is always harder to sell so I have no clue where they will go from here 😵‍💫

Anyway I'm still processing a lot of stuff that I will probably talk (and draw) about later, this is already long enough!! for now I'll look up how to get the artbook because the art direction of this game is fantastic!! I would love to hear your thoughts too really, I'm curious about the experiences of players who made different choices and with different tastes to mine!!

[secretmellowblog]

After season 8 of Game of Thrones, I swore a Sacred Oath that I would never get emotionally invested in another fantasy series until I knew how it would end. So after Arcane season 1 came out I said “that was an excellent fun season 1, but let’s see where they’re going with it before I get too absurdly invested tho.”

And now that season 2 has come out I feel very validated on my choices. XD If I’d been one of those people who spent years obsessed with season 1, writing meta and analyzing character parallels and discussing the themes and growing deeply emotionally invested in the flawed but ultimately strong tightly written cohesive fantasy story Season 1 came up with— I would’ve been very disappointed by Season 2 dropping all of the plot threads I really cared about.

But as a casual enjoyer I’m able to be like “well that was fun popcorn entertainment! Very exciting! it’s like if a Marvel movie were very artistically pretty!”

[abarbaricyalp]

Since the original post about the line has been going around, I've been thinking about the "It's hard to find someone with shared life experience" line from Steve in The Winter Soldier.

Yes it sets up parallels between Steve and Bucky, whatever. I don't know that it was actually meant to do that. The viewer should understand without being told that Steve and Bucky have shared lived experience.

That scene has always struck me much more as establishing the relationship that Steve and SAM were going to have. The movie said Steve is searching for shared life experience and then plops Sam down in front of him like, okay, here!

(Reckless) Military man part of experimental technology? ✅️

Lost your best friend during a military mission right in front of you? ✅️

"All I had to do was hold on."

"It's like I was just up there to watch."

Displaced soldiers--out of time, out of service ✅️

Anti-authority 99% of the time ✅️

"The number of people giving me orders is down to...zero 😊"

"I'm not looking for forgiveness and I'm way past asking for permission."

(I mean, I could find these quotes all day)

Heart of gold and moral compass stronger than magnetic North? ✅️

"Not a perfect soldier, but a good man."

Fiercely loyal and natural born leader? ✅️

Specialized training used to protect people at great personal sacrifice? ✅️

"I do what he does, just slower."

Loss of family as affective but off-screen development? ✅️

Strong ties to one geographic location that shaped them? ✅️

"Home is home, y'know."

Sam's theme song is literally called Louisiana Hero

Ridiculous relationship with one James Bucky Barnes, who is understandably obsessed with each of them? ✅️

I mean, I just can't believe how tightly interwoven Steve and Sam's stories are. Of course Sam gets the shield. Of course he's Captain America. Of course he's Steve's best friend. THEY are each other's parallels. Sam is everything Captain America should be. He's everything Steve needed and wanted in a friend/partner/successor. I always think Sam was kind of the first breath of fresh air Steve got, the first time he felt less alone in the future. They're mirrors of each other. Someone they could reach recognize themselves in. It's such a beautiful relationship that Marvel should have done more with.

That line is always going to be a SamSteve line to me 🤷‍♀️

[ricstarweek2024]

Can you believe Rictor and Shatterstar’s relationship was made canon 15 years ago? Well, it’s true! So, what better way to commemorate this iconic moment than with all of us sharing our love for them with a whole week dedicated to them?

The RicStar Anniversary Week 2024 will be held June 21-27, 2024.

The purpose of this event is to celebrate 15 years since the first kiss between Rictor and Shatterstar which happened on the pages of X-Factor #45 on June 24, 2009, which not only was the first gay kiss between two superheroes in Marvel, but it also confirmed years of romantic subtext between the characters. It’s been 15 years of canon RicStar, a couple that paved the way for more couples and pre-established characters to come out in later years.

Prompts:

Subjects

DAY 1: Early years/ X-Force era       

DAY 2: Missing moments

DAY 3: Mexico road-trip/ Mojoworld

DAY 4: Free day (It’s the Anniversary day!)

DAY 5: Alternate Universe

DAY 6: Krakoa Era

DAY 7: Family/ Friends

Themes:

DAY 1: Neurodivergence

DAY 2: Sacrifice / Parallels

DAY 3: Powers

DAY 4: Soulmates

DAY 5: Music/ Movies

DAY 6: Hurt/ Comfort

DAY 7: Childhood

Rules:

There are two prompts per day – a subject and a theme, feel free to use only one or a combination of the prompts.

All kinds of fanwork are welcome, from fanfics, fanarts, fanedits, playlists, photography cosplay, and even baking! (I’ve made Ricstar cookies in the past), handcrafts or even if you just want to share your thoughts, headcanons, etc. that’s perfect too. Let’s all just share our love for this couple in whichever way we want and can.

Remember to use the #ricstarweek2024 hashtag so we can find your work. For Tumblr, you can also tag us @ricstarweek2024.

Please don't feel pressured to post something for every prompt or every day. The dates and prompts work just as a guide so if you can’t post the assigned day that’s fine, post it when you can.

Remember to tag any triggers. Additionally, for NSFW material on Tumblr, make sure to put it under the “read more” break and use the function of sensitive content warning for Twitter.

Let’s have an amazing week together!!

[classicmarvelera]

Marvel Comics in the 1980s: Redefining Superheroism

The 1980s were a transformative decade for Marvel Comics. During this period, the company revolutionized the superhero genre by introducing complex narratives, embracing societal challenges, and focusing on the humanity of its characters. As the cultural, political, and technological landscape of the United States evolved, Marvel’s approach to storytelling reshaped the comic book industry and cemented the company’s role as a pioneer in modern superheroism.

Historical Context

The 1980s marked a pivotal time in American history. The United States grappled with economic challenges, cultural shifts, and the lingering tension of the Cold War. In this environment, Marvel’s narratives evolved to reflect the complexities of contemporary life. Gone were the simplistic stories of invincible heroes; instead, Marvel’s comics mirrored societal anxieties and aspirations. This shift elevated the medium and made it a mirror for the audience’s struggles and triumphs.

Buy 1980s Essential Marvel Reads

The Rise of Complex Narratives

One of Marvel’s most significant contributions during the 1980s was its emphasis on complex, character-driven storytelling. Creators like Chris Claremont, Frank Miller, and John Byrne pushed the boundaries of traditional superhero tales. Claremont’s Uncanny X-Men explored themes of discrimination, identity, and acceptance, resonating with readers who faced similar struggles in real life. Meanwhile, Miller’s work on Daredevil transformed the character into a gritty, morally complex hero grappling with crime and corruption in Hell’s Kitchen. These narratives introduced readers to flawed protagonists who navigated personal dilemmas, making them relatable and compelling.

This era also saw the rise of anti-heroes like Wolverine and the Punisher. Characters with morally ambiguous motives challenged the archetype of the noble, altruistic superhero. These stories underscored that heroism often comes with sacrifices, failures, and ethical dilemmas—a departure from the clear-cut morality of earlier decades.

Social Issues in Marvel’s Narratives

Marvel Comics became a platform for addressing pressing social issues during the 1980s. The X-Men series served as an allegory for marginalized communities, tackling themes of prejudice and social justice. Characters like Storm and Kitty Pryde embodied struggles for equality and representation, offering readers diverse perspectives.

Additionally, Marvel’s stories addressed topics like addiction and economic disparity. For instance, Tony Stark’s battle with alcoholism in the Demon in a Bottle storyline highlighted the human vulnerabilities of superheroes. This narrative not only added depth to Stark’s character but also showcased Marvel’s willingness to confront taboo subjects throughout the decade.

The company also began to explore LGBTQ+ themes, albeit subtly due to societal constraints at the time. Characters like Northstar, introduced in Alpha Flight, were among the first openly gay superheroes, paving the way for greater representation in comics.

Political Influences

The political climate of the 1980s heavily influenced Marvel’s storytelling. The Reagan administration’s conservative policies, the AIDS crisis, and the escalation of the Cold War were reflected in the pages of its comics. For example, Captain America often wrestled with his role as a symbol of American ideals in a time of political and social unrest. These narratives questioned the nature of patriotism and the responsibilities of those in power.

Similarly, the X-Men stories drew parallels between the Cold War’s ideological battles and the mutants’ struggle for acceptance. These allegories allowed Marvel to comment on global events while maintaining the fantastical elements of superhero storytelling.

Buy 1980s Essential Marvel Reads

Artistic Innovations

Marvel’s artistic approach in the 1980s was as groundbreaking as its storytelling. The company embraced dynamic, expressive art styles that mirrored the decade’s cultural trends. Influences from street art, pop culture, and the burgeoning music scene found their way into Marvel’s pages, giving the comics a contemporary aesthetic.

Artists like John Byrne, Frank Miller, and Bill Sienkiewicz introduced innovative techniques that pushed the boundaries of comic book visuals. Sienkiewicz’s work on New Mutants incorporated surreal and abstract elements, redefining what superhero art could be. This period also saw the integration of darker, more realistic tones, aligning the visuals with the gritty narratives of the time.

Expansion into Other Media

The 1980s marked Marvel’s growing presence beyond comic books. Animated series like Spider-Man and His Amazing Friends and The Incredible Hulk introduced Marvel’s characters to new audiences. These adaptations retained the complexity and relatability of the source material, further solidifying Marvel’s cultural impact.

Marvel’s characters also began appearing in live-action films and television shows. Although many of these projects were modest by today’s standards, they laid the groundwork for the blockbuster superhero films that dominate popular culture today.

Legacy of the 1980s

The innovations of the 1980s left an indelible mark on Marvel Comics and the broader comic book industry. The decade’s emphasis on character depth, social relevance, and artistic experimentation set a new standard for storytelling. These changes not only appealed to a more mature audience but also elevated comic books as a legitimate medium for exploring complex themes.

Characters and narratives from this era continue to resonate with readers and audiences today. The X-Men, for example, remain a powerful symbol of diversity and inclusion, while anti-heroes like Wolverine and the Punisher have become iconic figures in popular culture. Moreover, the storytelling techniques and artistic styles pioneered in the 1980s have influenced generations of creators, ensuring Marvel’s legacy as a trailblazer in the world of comics.

Marvel Comics’ transformation during the 1980s exemplifies the power of storytelling to reflect and challenge societal norms. By embracing complexity, diversity, and innovation, Marvel redefined superheroism and secured its place as a cultural cornerstone for decades to come.

Buy 1980s Essential Marvel Reads

[reason-with-the-underdog]

ningguang & kaveh are interesting foils

thinking about ningguang & kaveh, whose ambitions are literally encapsulated in grand architectural marvels of their own design

both bankrolled & were heavily involved in every step of the construction process

their buildings were destroyed due to choices they made

they chose to rebuild anyways

both care deeply about their impact on the future generations, of which their buildings are a key part of their intended legacy

but their buildings (jade chamber + palace of alcazarzaray) convey entirely different meanings/purposes

jade chamber is ningguang's office, where she conducts both her government and personal business work. it also affords her a birds eye view over all of liyue and figuratively serves as her throne atop the heavens.

she chose to sacrifice it to defeat osial & protect liyue harbor

that choice is made easier for her (but no less important) as ningguang knows that by doing so, she preserves liyue so that it can continue towards a more prosperous future (<- also shown in her being invested in children's education + welfare)

she's satisfied with liyue's current state & thus subsumes her personal ambition temporarily for the sake of liyue's continued progress. importantly, ningguang can and will guide liyue onwards and rebuild her beloved palace amongst the clouds as part of that process

meanwhile the palace of alcazarzaray is kaveh's "magnum opus"-- it represents the pinnacle of his aesthetic ideals in a time where the mainstream in sumeru did not value the arts

the palace's first destruction was at the hands of the withering (which kaveh takes personal responsibility for since he chose its location over a cliff) so its destruction isn't an active investment in continuing the status quo, like the jade chamber's was

the palace's loss represented the difficulty of pushing against the status quo (dori's commission was particularly enticing for kaveh as an incredibly rare opportunity to advocate for the arts at a time when the akademiya's official stance was to shut cultural activities down)

so while kaveh rebuilds the palace of alcazarzaray, much like ningguang rebuilt the jade chamber...

kaveh rebuilds the palace as a swan song-- he put everything he had into reconstruction as if it were his last message to a society that no longer recognised his values. he calls it a "magnum opus" (his greatest work, implying he may never do better, or that nothing else will come after)

ningguang's jade chamber is a monument to her ambition & her desire to shape the continuance of society thru leadership/oversight over liyue

kaveh's palace of alcazarzaray is a monument to his ambition & his desire to build something wonderful in defiance of what society valued

the temporary destruction of those ambitions-as-buildings affect them very differently as a result...

another lens to look at them is through their nation's AQs and themes

liyue's AQ was about humans taking control of their future governance...

while sumeru's AQ was about humans going too far with their pursuit of power/governance & crossing the line against the divine

both ningguang and kaveh are highly influential important people in their nations in positions of power to do great things for their nation and share their ideals/dreams with the public

but ningguang's story has her take charge of her nation and actively defend liyue in crisis

while kaveh is positioned more as an outsider to the akademiya government bureaucracy & as alhaitham asks in the AQ "Where were you when Sumeru needed you most?"

they have other parallels too (having a taste for luxury, being high income earners from their chosen profession, caring deeply for the development of children's education and welfare, having teasing & at-times combative relationships with their romantic partners)

LOOK I JUST REALLY WANT THEM TO MEET... IMAGINE IF KAVEH HAD AN ACTUAL GOOD PATRON INSTEAD OF DORI LORD SANGEMAH BAY

crossposted from twt

[dailycharacteroption]

Roleplay Ramblings: New Elements part 1

Intro

In the past not just Pathfinder, but even Dungeons and Dragons, there has been a baseline assumption that the four elements of western elementalism were the “true” elements of creation.

Sure, Pathfinder did have wood, metal, aether, and even void elementalists out there in the world, drawing upon not just the Chinese Wuxing, but also the expanded western elements and even Japanese Godai, respectively. However, these were generally considered not “true” elements since those that drew upon them do not call upon an elemental plane. Metal is just a group of themed spells and doesn’t even have independence from the earth element for kineticists, wood draws upon the First World, Aether draws upon both the ethereal and astral plane, and Void… well, we’re not really sure how that one works at all drawing not just from negative energy, but also concepts of stillness and serenity. All together, they represent unique ways to tap into magic… but they still are only elements in name.

…Or so we thought.

With the advent of Rage of the Elements, it became revealed that the elements of Metal and Wood were indeed real, but had been inaccessible for an unfathomable length of time due to the treachery of the Elemental Lords.

Fans of Pathfinder’s lore will recall that the four “evil” elemental lords of the familiar elements imprisoned their “good” counterparts inside magical gemstone artifacts, The Moaning Diamond, the Garnet Brand, the Untouchable Opal, and the Gasping Pearl. All in a bid of an alliance of power between the four as they ruled the planes.

However, doing so had an unusual side effect in that this imbalance of power actually literally unbalanced the planes on a cosmic scale, shunting both the planes of Metal and Wood out of alignment with the rest of the multiverse, seeming to vanish entirely as the borders of the planes they once rested between closed in with their new neighbors.

However, after the goodly elemental lords were freed one after the other, thanks in no small part by planeshopping members of the Pathfinder Society, the balanced was restored and the two planes have begun creeping back in, freed from their isolation as their residents and wonders marvel and are marveled in kind by the cosmos they have rejoined.

These two planes have elemental lords, genies, and elementals of their own, a whole ecology that parallels the other planes but also prove unique in their own right. Presumably, the two more destructive or antisocial of the elemental lords of metal and wood were not included in the original conspiracy due to their comparative lack of malevolence or thirst for power compared to their contemporaries, though that isn’t to say they don’t have their quirks.

To describe them briefly, (in preparation for further entries this week) the Plane of Metal is a place of change and creation, of forged form and function, of art and science, of creation, but also destruction, for while many wondrous things can be created from the harnessed metals and materials, they are also associated with destruction, not just for metal’s association with weapons, but also the fact that nothing that is created can last forever, and all metal succumbs to rust and corrosion eventually.

Meanwhile, the Plane of Wood is a place of cultivated order, for while it is a place of constant genesis and life, rarely if ever does it grow without some for of guidance, either directly from sapient beings or simply by the nature of the plane itself. It is a place of fractals, plants growing on plants growing on plants all the way down and all the way up to perceptual infinity. But it is also a garden where wonders are cultivated, harvested, and crafted, with many elemental beings being literally carved into shape from the living essence of the plane. Very different indeed is this plane when compared to the wild verdant nature of the First World.

These planes were introduced in Second Edition, and everything about them rules-wise has been written with that assumption… But maybe you prefer First Edition, and want to see how the return of these planes can be realized in that system? Well, that’s what we’re going to look at this week! Some things won’t need much work, but others will require a bit more, but we’ll explore it all the same. I hope you’re looking forward to it!

[pendovah]

little sister

[age-of-moonknight]

“Let’s Dance,” Moon Knight (Vol. 9/2021), #21.

Writer: Jed MacKay; Artist: Alessandro Cappuccio; Colorist: Rachelle Rosenberg; Letterer: Cory Petit

[crumb]

Some interesting things I found while doing some research on the origin of the name Ambrose: (If this has already been pointed out, apologies!)

I know the given name's meaning is more linked to god-like rather than immortality (although those concepts are definitely linked.) The theme of immortality is very relevant to Ambrose and Vincent. He encased dead and alive bodies in wax giving them an immortal second life.

But also, Saint Ambrose is the patron saint of bees, beekeepers, wax melters, and candlemakers, which is a more direct, but still very clever, reference by the writers.

Saint Ambrose's father describes him as having a 'honeyed tongue', which doesn't always have a positive meaning.

This sounds like Bo with his placating words, leading Wade and Carly around Ambrose with all his little excuses about that damned 15-inch fan belt.

"The twin brothers Gervase and Protase are considered the first martyrs of Milan as Saint Ambrose, guided by a vision, unearthed their remains in 386. The martyrs appeared to Saint Ambrose in an apparition."

Twin brothers, martyrs who would eventually be venerated as saints themselves, appeared to Saint Ambrose in a vision. This led to the discovery of their buried remains.

"...We found two men of marvelous stature, such as those of ancient days. All the bones were perfect, and there was much blood."

These parallels, coincidences—whatever you want to call it—are just very interesting.

[letstrekintospace]

Single Dad Mobius Theory!

Marvel released a mid-season promo today, and I'd like to voice my silly little theory. We see in the promo that Mobius works at his jet ski store, and lives in a suburban house with children's toys outside, but nobody else in the shot. Now, we aren't sure quite yet *where* his home is located. But the theory can still remain.

Now, we also know, reflecting back on the scene where Loki and Mobius have pie together, that Mobius is thankful for whoever brought him to the TVA.

This is where this gets interesting. Why would he be so thankful to be at the TVA after all that has happened with it? We see this as a recurrent theme with Mobius. Loki then quips about how he held NY hostage from Avengers 1 with his alien army.

Wouldn't it be quite interesting, if when Loki travels to the Mobius Variant timeline, he was a single/widowed father? Maybe his kids are no longer there? Or maybe they are and it's just him and them?

A really interesting parallel between the pie discussion and Mobius' life would be if Loki's attack on NY had something to do with Mobius' partner no longer being around. Thus, his constant reiteration of his life being better on the timeline with his newfound family may correlate with the sorrow he faced on the jet ski timeline, and he may only know it subconsciously.

Maybe this is also why Loki is so desperate to defend him, to reassure him, to make amends once he realizes the truth.

Or maybe this is way off. But it would be really cool to see this connection.

[katherinakaina]

It always baffled me why being 'preachy' is a bad thing for a story to be. And I don't mean just a list of rules, I mean an actual story but the one that wears its themes on its sleeve, the one that has a moral paragon character, the one that actually makes strong arguments in favor of its position. Many people like such stories when the theme speaks to them but even among those who would normally agree with it the most common critique is that the story is 'preachy'.

And... Alright, it is. Why is that a bad thing? Just calling a trope or a type of story by its name is not enough. You need to explain what's wrong with it. And i don't see a convincing argument here except that some people find it annoying.

And, okay, whatever. Most people would just move on at this point. Except I can't, because I need to understand. Because I fucking love preachy stories, those are my favorite. And in things I otherwise adore my main complaint is that they're not preachy enough, they're too vague. They make the themes easy to ignore or even miss completely. That's how you get 'the red pill' being coopted by fascists. That's how you get right wing fans of ASOIAF. And that's how you get most people preferring the Termite ending in Pathologic.

So I was thinking about it while casually rewatching 'Why are you so angry?' by @innuendostudios . And this video perfectly sums up what I think is going on here. Go watch it, it's short and excellent. In a nutshell, people feel strong irrational resentment when others do... for lack of a better term, virtue signaling in front of them. They are not necessarily trying to look better than you, they are just stating their position without being ashamed of it... as if... it's a good position worth having... and they seem to imply that you are a bad person for not sharing it... Are they judging you?

I think people react the same way to themes in stories. They just want to enjoy their escapism without trying to become a better person and that's how they approach all art. Not like a message but like entertainment. So if an author wants both success and getting their message out there the message has to be hidden, to exist as a euphemism, so only those who really want to see it can decode it. Strong moral arguments exist in modern media like queer coding. For us sickos to enjoy but not for the general audience.

I am fully opposed to that. Let them have their Marvel movies or whatever but we don't have to surrender to the same standard.

Subtlety is overrated.

Hiding your themes like it's something to be ashamed of is overrated.

It can only be a good strategy if luring in people who are not fully on board with your message to then convert them is your goal. But for that you'll have to reveal your true face sooner or later and not be frightened when a surprising number of right wing fans you acquired start catching up and expressing confusion. You will have to double down and not back down. Something large media companies aren't good at. But you can be!

Remember that the frontier of art is everywhere. And even the smallest act of speaking your truth pushes our lines forward. And then remember this. The corporate need to make art palatable to the general audience is so desperate because it is so unnatural. Refusal to take sides requires constant effort. It breaks, it leaks. Subtlety is brittle. Demand for neutrality is the mask of fear. Remember that. And know this, the day will come when all these on the nose parallels and in your face pompous heroic monologues, this moments of speaking directly to the audience, will have flooded the banks of 'nuanced storytelling' and then there will be one too many. One single bold statement will break the siege.

Remember this. Preach.