#not just huge writeups

[inaconstantstateofchange]

Realmslore of the Day: Sharran Hairpieces

The haters have begged me not to put this information out into the world, but I'm dead inside and need to feel something, so I'm choosing chaos today.

A [Sharran] priest’s hair is sometimes natural, and sometimes a wig of the braided hair of many others, enspelled so the tresses can carry daggers, small lanterns, and other items of like size and weight, as well as catch and cling to things. These enchanted wigs are not strong enough to hold the wearer’s body weight, but they could, for example curl around a branch while maintaining hold of a lit lamp, so the cleric can part company with the wig and do something in the lamplight.¹

I'm not saying this is what's going on with Shadowheart's plait? But I'm not... not saying it.

¹ Ed Greenwood Presents: Elminster's Forgotten Realms. 2012. p. 162.

[heat--end]

"the irida bulbapedia page is pretty underwhelming. plot relevant character with no history section or anything"

"be the change you want to see in the world and write it"

me realizing im autistic enough to do just that:

[am-i-the-asshole-official]

WIBTA if I turned my coworker in for using his phone?

☎️ for obvious reasons.

So I’m gonna put this up front: this isn’t actually about the phone, it’s about the coworker. The phone is just convenient.

Our players are me (35 AFAB), Coworker A (~30 M), Supervisor C (N/A M), D (N/A F), and L (N/A F).

So first, the reason I have beef with A: he has never had a conversation with me that didn’t involve hitting on me and/or inappropriate questions. These have included demanding to know who I voted for, how my paycheck is delivered, whether I’m in a throuple with my roommates, and whether I have a boyfriend, which wouldn’t be weird except it was literally the first question he ever asked me—he didn’t even know my name yet. After I yelled at him over the voting thing because he refused to take “I don’t discuss politics at work” for an answer FOUR TIMES, he tried to break my glasses when I put them down so I could put on my safety goggles.

You may be wondering why I haven’t turned A in for harassment, ESPECIALLY after the glasses incident. I have. The problem is, he’s very good at looking pathetic and saying “I was just _________.” In this case, he was just looking at my glasses (never mind that you shouldn’t be playing with someone else’s expensive medical device!), and just making conversation. In spite of the fact that he was ignoring his trainee and distracting me from my work, he somehow got away with this. After a few of my screwdrivers went missing the same day he went pawing through them and he broke my brand-new pen, C told him to stop having anything to do with me, that his attention WAS NOT WELCOME.

Now we get to L and D. They’re two of our coworkers who can solve just about any problem you have. Ever since A was warned off, I’ve noticed that if I’m working with L or D, suddenly A needs all kinds of help that keeps bringing him over to our machine, and he always seeks out help from whoever it is I’m working with—if I’m with L he’ll go to L, if I’m with D he’ll go to D. If you’re a dude and think I’m overreacting, go ask a couple of the women in your life—you probably know someone who’s had similar experiences. (And for the record, another coworker I only know to say hello to has commented that his behavior toward me makes her feel like “he wants to wear your skin or something.”) I don’t think A is actively dangerous, but he’s very clearly a creep—especially because he also has a girlfriend and baby and still keeps doing this.

Now we get to the phone. I work in a factory where we’re not allowed to have phones on the floor because we work with food product and a phone dropping in a box is a huge contamination issue, on top of which distraction at my job can lead to life-changing, possibly even life-threatening injuries. (I was on a machine that threw its chain drive once and the only reason I didn’t lose an eye is because there happened to be another machine piece between me and the snap.) So: phones are a big no. Management will look the other way for people in extenuating circumstances, like having a sick kid at home, but in those cases your phone is to remain in your pocket and if it rings and you need to answer, you have to leave the floor.

I have caught A texting FOUR TIMES in the last month. Once I caught the words on his phone screen, and he was making plans for a party. That’s definitely not extenuating circumstances, and twice I’ve found his phone in the product catch tray.

So: very against rules that are there for the safety of us and our end users, and if I turn him in he’s going to get a writeup and possibly even a termination, which would mean I didn’t have to deal with him anymore. On the other hand, if he gets fired for violating safety standards he’ll have a hard time getting new work, and his baby doesn’t deserve hardship just because Dad is a creeper. Also, while I don’t carry my phone on the floor, I worry that turning him in could lead to a blanket ban that affects those in extenuating circumstances, because I’m almost positive he’d try “I was just checking on the baby” as his excuse.

WIBTA?

[mulders-too-large-shirt]

s5 episode 2 thoughts

i wrote the following episode writeup two days ago, and still, there is so much to process. but let past me take over as we begin our adventure into some DELICIOUS angst with a happy ending content:

i wasn’t going to watch this episode tonight because i am feeling tired and sick, but then i scrolled down a little bit and read some of the next episode’s descriptions, and boy. i want answers. which i will not receive if i do not watch the episodes prior to them. so. here we are.

i’ve also heard that this episode is really good, so i’m excited to dive in, even if i have a headache while watching it. usually i try to preserve my watching experiences for when i don’t feel ill, but sometimes you just have to push through it.

(it WAS really really REAAAAALLLLLLLLLLLLLLLY GOOD. my sickness was not fixed but some other part of me was)

okay. the description... mulder is looking for a cure and the FBI snitch. and he receives help from an unlikely source…. is it krycek??? let us see

(it was not krycek)

we begin with the recap, and again, the combination of skinner’s gruff “call a doctor” while holding scully's limp body and mulder’s defeated face at hearing the vial just has water in it is crazy 

mulder is at the hospital at 5 am!!! he’s looking for scully :( no one is helping him!! he is getting maaaaad omg

“i’ll calm down when i have a REASON TO CALM DOWN!!”<- OHHHH he is always going to cause a scene in a hospital. someone please pair up this scene with one breath to make a nice matching gifset thank you <3

the doctor wants to know who tf he is when skinner comes out of the room!!! OH FUCK, I FORGOT SKINNER THOUGHT HE WAS DEAD LMAOOOO “you move pretty good for a dead man” <- well yes he does! 

“i’m only half dead” now what do you mean by that… is he saying that without scully he is only half alive.......

oh skinner is PISSED! he is following him into scully’s room… please save the fighting for when she is not trying to get rest, thank you very much

oh my GOD, mulder sees her in the room and he literally has to put his hands on his knees and breath, and he cannot do it… holy fuck… he asks skinner what happened, and when he doesn’t answer right away he asks “DUE TO WHAT?” again, and skinner has to say she’s dying

(i immediately hit replay to watch him collapsing in on himself and gasping for air again. pain. pain and angst. feels good. like pressing into a bruise)

SKINNER AND MULDER START FIGHTING???? throwing hands. “don’t make me put you under arrest. DON’T” <- this is escalating. very quickly. we haven’t even had the intro yet. holy fuck.

(my skinner and mulder angst heart is deeply satisfied)

oh my god… how he’s watching her through the window……………..

the intro was cut short, but i expected this 

ohhhh no, mulder is here before section chief blevins… he’s in troooOOooOouble!!!

“the fact of you being here alive, it gives the effect of shaping this investigation into something altogether different” <- well yeah. that is very much the case. let's all state the obvious together.

blevins and the squad seem to be surprisingly patient with him as they explain they need to know who the real dead guy found in his apartment was. they say, well, you know, this is going to be a murder charge. so please say something to help yourself out here. and he says idgaf bye <- LEGENDARY!!!

ohhh skinner is following him out… skinner says he has been withholding evidence. he knows mulder shot the guy, killed him, then shot him again to hide his identity!!!! woahhhh!!! this is huge!!!!

skinner tells him to admit why scully lied on his behalf, and he says that her disease was given to her by someone at the FBI. he takes a moment to process that, then asks who, and there is a whole lotta guilt in mulder’s reply: “i failed to find that out, sir” <- NOOOOOOO i’m sad :(

oh mulder, and your intrinsic, ancient guilt.......

“you don’t want to forget who your friends are, agent mulder- to remember who you can trust” <- oh my god oh my gooooood. you KNOW i am a SUCKER for the whole mulder/scully and skinner dynamic, and he knows that skinner made the deal with the devil for him but scully doesn’t know that and she doesn’t trust skinner and oh my goooosh

mulder nods, while skinner watches him leave. i hope he has taken this talk to heart.

section chief blevins is at the racetrack again with CSM?? and he’s watching senator kennedy speak about human cloning. which seems random. how is he even watching that while at the racetrack? they didn't have ipads

CSM points out he said mulder’s not to be underestimated <- haha yeah THAT’S my boy!! 

ohhhh, but blevins knows CSM let him escape…. and CSM isn’t alarmed by this! he’s all smirky, even as blevins says their FBI man has been exposed.

“mulder’s in trouble. he needs help. we can give it to him” “in exchange for?” “his new loyalty. to us” <- WOAHHHH

some dude was behind blevins the whole time and he says “you can proceed now” so is he off to go get mulder???!?!?!

scully is waking up!! OHHHH look at his smile when he sees her…. oh somebody kill me. he loves her SO much

(author's note: tearing up just thinking about this as i make these notes readable. goddddddddd)

she’s so worried that someone is going to see him, but OH MY GOD he grabs her hand, sits on the bed, tells her it’s okay, and kisses her cheek “i’m officially among the undead” <- WAAAAAAAAAH I LOVE HIM

(and while in the moment this only inspired the deepest of affection, i now find myself thinking of a vampire au, and who would be the vampire... but let's get back on track)

she asks what happened, and he says he didn’t come there to talk about that <- YEAH THAT IS WHAT I WANTED TO HEAR!!! you tell her not to worry sweet girl

but she won’t take it, says he doesn’t need to protect her!!! and that is just like her, to die arguing. so he fesses up that he will have to testify everything that he knows 

he does NOT want her to worry oh my god “it doesn’t matter” “yes it does” (gently) “hey scully, how about those yankees?”<- OHHHH MY GOD i cannot stop saying oh my god, but what even is there else to say?

i just. he loves her so much. he wants her to relax and be calm and be okay even when she would never let that happen in a million years. and the fact that she is worried about HIM while she is literally dying… bro. i’m emo.

scully is trying to warn him that skinner is the mole, and he’s touching her face, saying no, it’s not him, and oh, i’m melting. my heart is melting. 

WOAH WHAT??? she is saying to tell the committe he has to testify before that SHE KILLED THAT GUY??? to keep him safe???

he smiles and shakes his head, saying he can’t do that, but she responds with “mulder, if i can save you, let me” oh my god???

“let me give at least some meaning to what’s happened to me” <- OH MY GOD??????? no no no no no no no. 

(the implications here... trying to find meaning... nobility in sacrifice... the religious imagery it inspires....... we need to unpack this at length someday)

OH enter maggie and bill scully, watching as mulder sits on her bed holding her hand, smiling like the dutiful son-in-law he appears to be, which is especially crazy, when you consider the whole “and where has this mulder guy been” thing bill had going on when we last saw him. but mulder says he was just on his way out. 

AND he kisses her hands as he leaves… the tenderness which i feel towards this man is so sensitive and indescribable

and oh my god, mulder introduces himself to bill. he says he’s sorry about his sister… but bill has something else to say- WHAT IS IT??

“mr. mulder… i know something about you, about what dana’s been through with you, so… let’s leave the work away from here, okay? let her die with dignity” <- OH MY GOD????? WHAT THE FUCK???????

bill you literally SUCK what the HELL?? you don’t know ANYTHING about what they have been through!!! 

he looks like he was just slapped :( and bill goes in and holds her hand while mulder is there just standing opened mouthed, unable to believe what he just heard :(

what the fuck.

bill count ur days.

so now the guy from the racetrack that was with blevins seems to be on the loose with a sniper gun!!

ohhhh, mulder is leaving the hospital when he sees CSM!!!! “please tell me you’re here with severe chest pains” <- JHDJSJDJ okay yes i laughed.

OHHHH he says that the water he got in the facility is essential to scully’s survival???? and that he’s here tonight as a friend?? so they go outside to talk about it… but the sniper, isn’t he loose????

cutscene to the lone gunmen’s headquarters, where mulder is emptying the water vial into a little dish, saying CSM promised him something would be in there. and there is some… thing?? a microchip??

OH! he says that maybe it has to do with when the chip was removed from her neck!! because she got very sick shortly after it was removed!!! woah... that is wild to think about. so maybe if it had stayed in there this wouldn't have happened??? but she would have kept getting abducted because they would have known her location? but earlier someone said it was the procedure that takes their eggs that makes them sick. but how does that involve the alien? who knows. probably not chris carter.

kritschgau is here now; he’s been summoned before the committee

he confesses to giving classified information because he knows what the government is hiding from the people!!!! developing a moral compass late in life

but he denies knowing who killed the guy found dead in mulder's apartment, whose name is scott…

“i’m aware of one connected death, though” <- is he going to say scully???

NO!!! his son, who died that morning!!!!! oh no :( i feel bad now 

he says that part of his work comes from a congressional lobbying firm?? called “roush”. blevins and some other guy exchange looks but skinner asks what it means. and kritschgau says idk. well. me neither 

back in scully’s room, mulder is being yelled at by bill as he tries to explain the microchip from the tube might make her better. maggie seems to want bill to settle down, while scully is staring hard at it.

she says that everyone has their heart in the right place, but it needs to be her call… oh, so diplomatic… and she decides to try it

bill looks like he wants to kill mulder, and mulder tries to dodge his eye contact. it was very emotionally charged.... but also a little bit funny 

so now the sniper guy is back. he’s setting up the rifle, but where???? and to shoot which of our characters???

bill comes out of the hospital room and mulder is working overtime to try and avoid his gaze until he realizes it is impossible.

“see, she’s your big defender, but i think the truth is, she just doesn’t want to disappoint you” <- bro WHAT?? how fucking infantilizing can you be??? just because she’s your little sister doesn’t mean she can’t make her own informed decisions about living and dying??

bill, we are GOING to throw hands at some point 

OHHHHHHHH bill blames MULDER for all of this AND for missy’s death……… again…. not very fair…. scully made her own decisions… but if i were bill, i might feel the same if it were my family….

ohhh my god this whole exchange needs to be on my blog:

“has it been worth it? to you, i mean, have you found what you’ve been looking for?”

(mulder pauses, before answering in a whisper) “no”

“you know how that makes me feel?”

“in a way, i think i do. i lost someone very close to me- i lost a sister, i lost my father- all because of this thing i’m looking for”

“this what? little green aliens?”

(mulder looks down, before smiling) “yeah. little green aliens”

“you’re one sorry son of a bitch. not a whole lot more to say”

holy FUCK

1. i love a man who loves so unabashedly and so unapologetically. i love a man with his heart on his sleeve, and i love mulder for this reason, even if he is terribly stubborn and often infuriating. look at him. look how dedicated to the truth he is. look at how much he loves her.

and 2. for their own sake, i hope they elope when they get married, but for the sake of pissing bill off, i hope they get married in a traditional fashion, and he has to sit there and watch and regret everything he said when this inevitably saves her life and they get to grow very old and happy together because of his quest for aliens. and then they say their vows and kiss and bill writhes in the knowledge that he is a mean person. that is all. for now. because i will probably have more to say later.

fuck you bill. all my friends hate bill. 

mulder's phone rings… he answers it, saying “one sorry son of a bitch speaking” and it’s CSM??? asking how’s our patient? well. i guess he can take some credit here for the potential recovery, but “our” feels strong.

he says he’s arranged a meeting he will want to attend??? hmm. hmmmmm. hmmmmm. much to ponder here. mulder do NOT make any deals, CSM is a NASTY FUGLY SLUT!!

so mulder’s sitting in a diner, sipping coffee, when someone pulls into the parking lot??? it’s CSM himself. 

WITH THE CLONE SAMANTHA FROM BEFORE???

“you know 'em or something?” “i think that’s my sister”, he says to the waitress <- WHAT??

obviously though, he realizes it’s the fake samantha, right? like this trick won’t work on him twice... right?

she looks at CSM and says “my father” <- HUH??

nah, i do not believe it’s her at all. she says she was frightened, and she tried to forget everything from that night. she was told she was going to see her father. and CSM said basically that she was an affair baby and he's the bio dad. and he took her in and was so kind.

nah. i’m not buying it at all….

but mulder is crying……….. he’s had a rough go of it though these past few days, okay?!?!?! so don't be mean to him for believing what HAS to be an obvious lie

he tries to explain that CSM is probably lying to her about many, many things, because he has obviously known mulder’s whereabouts for a very long time, and has never told her

he says that she should come see their mom… but she says she can’t do it, she needs time, she has children of their own, and she won’t tell him where to find her. I DON’T BUY IT i’m glad she left before her mom could see her, because she doesn’t deserve that heartbreak AGAIN.

he assures her they will reunite on her time and he lets her go. even though he very much does not want to. which is a lot for his character. how he lets go of the iron grip he had on her arm...

i wonder if he doesn't believe it, deep down.

she says she’ll think about it, and she leaves, getting into the car with CSM. mulder is utterly gagged. 

hmm. HMMM. CSM is trying HARD to get him to pledge to the dark side. but will the same tricks work again???

meanwhile, scully is being injected with something. but she looks so sad as her doctor doesn’t seem hopeful. 

she asks if he’s ever seen a miracle, and he says he’s seen recovery from the brink, but he won’t dare call them that

sniper guy?????? has his rife aimed at CSM??? or mulder??? or both???? because they are standing next to each other

they’re meeting up. “you give me these things- the only things i’ve ever wanted- and i can’t think of any reason for you to do so” <- HE’S LYING ABOUT THE SAMANTHA STUFF, HE HAS TO BE. WE SAW A WHOLE CLONE ARMY OF PEOPLE WITH THAT FACE. IT CANNOT REALLY BE YOUR SAMANTHA, MULDER.

but he says he will offer him the truth, about the project. mulder says he knows the truth. CSM fires back that kritschgau was the one lying!!! 

“in exchange for what?” “quit the FBI, come work for me” <- WOAH he was shockingly forward there. i can kind of admire that. now please say no, mr. mulder. 

AND HE DOES SAY NO!!!!

“what have you given me? a claim of a cure for scully? is she cured?” (oh the way he said that was SO sassy, it felt like a read)

“you show me my sister, only to take her right back” <- again. DID he do that, though?

“you murdered my father. you killed scully’s sister, and if scully dies, i will kill you” TELL HIM BABY!!

“i don’t care whose father you are, i will put you down” OUGHHH GET HIM 

sniper guy puts his gun away when mulder leaves!!! so must be it’s mulder he’s after!!!

cut to scully cam… it’s her mom!! she called to see her and gives her a big hug.

“i fight, and i fight and i fight… but i’ve been so stupid” hey what do you mean. hey sweetheart what do you MEAN by that.

OH she is having a crisis of faith…. she feels guilty for being closed off to father mccue. ohhhh....... is the blaming herself for being too scared to turn to god??

she tells maggie she has no improvement, and they hug and they cry; “i know you’re afraid', maggie says, "i know you’re afraid to tell me, but you have to tell someone”

blevins is watching more press about human cloning. is that why they do these experiments with the women? for cloning purposes? is that what i am supposed to believe from this?

blevins calls someone, and sees skinner in the background of the hearings on cloning… now what is he doing there. blevins says their colleague was supposed to fix the FBI problem, and then he will fix it for good… is he talking about the sniper?????

back to scully’s room, where she is sleeping, and mulder is entering. he’s watching her sleep, then laying his head next to her and SOBBING. WHYYYYY???? OHHHHH....... he couldn't bear to wake her up. someone please hit me with a hammer.

then he is here at a meeting with blevins, who says something urgent has arrived. it’s the analysis that shows he fired the shot into the dead guy!!! from an undisclosed source!!! and unless he offers someone else up, all evidence points to him being the killer!!

is he bluffing??? did skinner sell him out?? no, that cannot be it...

blevins claims that scully was going to name skinner as the mole, and that they have found substantial evidence against him, which mulder refuses to believe. well… he is A mole, but not THE or THIS mole!!!

he’s basically saying name skinner and you walk free????? mulder doesn’t answer, just says he’ll see blevins at the hearing. verrrrry shady

he goes back to scully, who asks why he’s here, he has a hearing!! this has never stopped him in the past. and he confesses to having stopped by last night, but not having the heart to wake her up :( she’s asking why…

he says he was going to take the deal with CSM, but changed his mind after blevins tried to get him to implicate skinner!!!

(skinner being his grounding force to returning to his sense of morality... no no no it's fine i'm definitely super cool about that)

scully offers again to take the blame, but he refuses, saying he couldn’t do that to her family or live that lie (the truth motif)

“we all have our faith… and mine is in the truth” <- YESSSSS the comparison to religion in his dedication… everyone has been saying and observing it for the past 4 seasons, but now HE has!!! 

“then why’d you come here if you’d already made up your mind?” (laughing) “because i knew you’d talk me out of it if i was making a mistake” <- OHHHH to be known is to be loved…. <3

and father mccue walks in right then!! she says “you’ll be in my prayers” and he kisses her cheek, saying “have the father say a few hail mulders for me, okay?” <- LMAOOO AWWWWW BABY

she’s crying as father mccue walks in and mulder walks out…

and her honesty in telling him that she will pray for him, after running from her own belief for so long; it was as if she thought praying would be a declaration of weakness, and maybe it is, to submit yourself to something higher, to ask for a mercy you cannot earn... but she is going to, and not only for herself on the brink of death, but for her best friend who is going through his own turmoil..... oh scully........

now for the hearing. he's late! fashionably so!

they’re setting the stage- we know that man was killed with your weapon- and mulder says he wants to set the record straight.

skinner asks for a break??? but mulder says he’s ready to proceed….. oooo what are they each getting at…. skinner looks stressed af

he says he was assigned to work with scully, who he thinks was to spy on him…

“that agent scully did not follow these orders is a testament to her integrity as an investigator, a scientist, and a human being” <- YESSS 🔥that is my girl who is motivated by the eternal burden of doing the Morally Correct Thing :,)

he’s explaining that she lied about his death because he asked her to, because she was a victim of the grand conspiracy that is killing her (this is cut with footage of the sniper looking at CSM through the scope of his rifle, and scully praying with father mccue)

he’s saying he will name the people responsible for this tonight!!! but they just want to know if he shot scott!!!! it's getting more and more tense and loud, before we boil over to a yell:

“i can’t do that sir, because the section chief is the man i’m about to name!” (murmuring) <- OHHHHHHHHHH HE DROPPED A BOMBSHELL ON THE VILLA

(we enter slo mo) (sniper fires at CSM) (blevins is shot by some other guy, who puts the pistol in his dead hand) (CSM lays on the floor, bloody, holding the picture of baby mulder and samantha)

DID CSM JUST DIE????? i refuse to believe it. that bitch can’t be killed……. nope nope no way. unless i see his corpse (NOT his headstone or his funeral, his actual CORPSE) i shan’t buy it.

so much just happened????

the next morning, skinner is with mulder at the hospital. who, as if just hearing me, tells mulder that CSM is dead, shot holding the photo of him and samantha

NO BODY WAS FOUND??? but it was too much blood loss for anyone to have survived. so someone took the body?? OR someone brought extra blood to dump on the ground and fake a death!!! makes you think!!

mulder claims he just guessed it was blevins behind it all- do i believe it? or do you think it was his years of solving crimes that allowed him to pick up on it subconsciously? i'm going with that interpretation

and blevins had been on roush’s payroll for four years!!! a biotechnology company!!! for cloning??? for aliens?? and of course all connections are now being erased.

BUT NOT EVERYTHING…. SCULLY’S IN REMISSION!!! skinner is shocked and mulder says it’s the best news he’s ever heard 😭🥺 my BABY

when skinner asks what turned it around, he says he doesn’t know, and they’ll never know…

oh my god, i love that their beliefs combined to cure her… his obsession with the Truth and her literal coming to God, and which of them was actually responsible is entirely impossible to tell. oh i actually LOVE THAT SO FUCKING MUCH. RAHHHHHH THAT IS SO POETIC. their guiding forces in life, and we have no way of knowing which is responsible for her life being saved. but it happened.

and skinner wants to see her!!!! leaving mulder to hold the bloody photograph of his baby self… and he’s crying… it’s been a very long few days for him 

oh my god… i need some time to think on this all….

so, 2 days have passed since i watched this episode, and i still have SO many emotions. in no particular order, some things i am dwelling on: bill's cruelty to mulder; mulder smiling as he held scully's hand, trying to distract her; him unable to hold himself up as he sees her in the hospital room; skinner telling mulder to know who his friends are; skinner trying to pause the meeting before it even began so he could offer some sort of advice to mulder; scully crying into her mom's arms, surrendering to god; scully, who knows that mulder is not a believer, and has ridiculed her for being so in the past, telling him that she will pray for him; scully worrying about him when she is the one who is dying; scully reclaiming her agency when she decides that she wants to use the microchip; mulder saying that her remission is the best news he could ever have possibly heard; and skinner going in to see her while she was still surrounded by her family

WAAHHHHHHHHHH

so. a lot on my mind. a very, very, very good episode. i thought the blevins reveal kinda came out of nowhere since he has mostly been a set piece rather than a real character, but honestly, that wasn't the heart of the matter here, so we can disregard it.

i'm not sure how i feel about the potential samantha reintroduction. actually, i do know how i feel: i just didn't much care for it. frankly, i just don't buy it at all, and it felt like a lot to cram into one episode, especially since they've used the whole "is it really her?" plot point before. so it felt like a bit much on top of the already incredibly high emotional stakes.

but other than these thoughts, the episode was fantastic. finally, we get something happy! the potential end of scully's illness! mulder and skinner basking in her presence as she recovers!! her surrender to the omnipotent! his surrender to the truth, but not at the extent of his morals!!! everyone is so happy and the wedding is tomorrow!! i will see you there!!!

(what did you think?? did you like this one as much as i did?? did any moments make you tear up?? anything you noticed that i missed? please tell me!!! i'm really excited and want to chat on the subject :D)

[qweerhet]

I see some of your pro-ai stuff, and I also see that you're very good at explaining things, so I have some concerns about ai that I'd like for you to explain if it's okay.

I'm very worried about the amount of pollution it takes to make an ai generated image, story, video, etc. I'm also very worried about ai imagery being used to spread disinformation.

Correct me if I'm wrong, but you seem to go by the stance that since we can't un-create ai, we should just try our best to manage. How do we manage things like disinformation and massive amounts of pollution? To be fair, I actually don't know the exact amount of pollution ai generated prompts make.

so, first off: the environmental devastation argument is so incorrect, i would honestly consider it intellectually dishonest. here is a good, thorough writeup of the issue.

the tl;dr is that trying to discuss the "environmental cost of AI" as one monolithic thing is incoherent; AI is an umbrella term that refers to a wide breadth of both machine-learning research and, like, random tech that gets swept up in the umbrella as a marketing gimmick. when most people doompost about the environmental cost of AI, they're discussing image generation programs and chat interfaces in particular, and the fact is that running these programs on your computer eats about as much energy as, like, playing an hour of skyrim. bluntly, i consider this argument intellectually dishonest from anyone who does not consider it equally unethical to play skyrim.

the vast majority of the environmental cost of AI such as image generation and chat interfaces comes from implementation by large corporations. this problem isn't tractable by banning the tool; it's a structural problem baked into the existence of massive corporations and the current phase of capitalism we're in. prior to generative AI becoming a worldwide cultural trend, corporations were still responsible for that much environmental devastation, primarily to the end of serving ads--and like. the vast majority of use cases corporations are twisting AI to fit boil down to serving ads. essentially, i think focusing on the tool in this particular case is missing the forest for the trees; as long as you're not addressing the structural incentives for corporations to blindly and mindlessly participate in unsustainable extractivism, they will continue to use any and all tools to participate in such, and i am equally concerned about the energy spent barraging me with literally dozens and dozens of digital animated billboards in a ten-mile radius as i am with the energy spent getting a chatbot to talk up their product to me.

moving onto the disinformation issue: actually, yes, i'm very concerned about that. i don't have any personal opinions on how to manage it, but it's a very strong concern of mine. lowering the skill floor for production of media does, necessarily, mean a lot of bad actors are now capable of producing a much larger glut of malicious content, much faster.

i do think that, historically speaking, similar explosions of disinformation & malicious media haven't been socially managed by banning the tool nor by shaming those who use it for non-malicious purposes--like, when it was adopted for personal use, the internet itself created a sudden huge explosion of spam and disinformation as never before seen in human history, but "get rid of the internet" was never a tractable solution to this, and "shame people you see using the internet" just didn't do anything for the problem.

wish i could be more helpful on solutions for that one--it's just not a field i have any particular knowledge in, but if there's anyone reading who'd like to add on with information about large-scale regulation of the sort of broad field of malicious content i'm discussing, feel free.

[androxys]

Comic Ages: Quick Breakdowns of the Dark and Modern Ages

Yesterday I wrote a quick writeup of the Golden, Silver, and Bronze Ages of Comics. Savvy readers may have noticed that those ages ended at 1986, and yet comics have continued to be published. So what Age are we in now? That's what this writeup discusses!

The Dark Age (1986-2016)

After Crisis on Infinite Earths ended in 1986, DC got to make a whole new continuity! The comics that came at this point in time form the foundation of a lot of the characters and stories that we know today. For a good bit of time, we called The Dark Age the Modern Age, because at that point it was modern! But now that we’re nearly forty years removed from Crisis and comics are still being published, there was a fair question about just how “Modern” it was. I’m using the verbiage that DC seems to be endorsing themself—I learned the phrase “The Dark Age” from 2022’s Batman—The Ultimate Guide reference book. Calling this period a Dark Age is not an indictment about the quality of work in this period, rather, it’s to reflect the doubling down on darker, grimmer stories. Crisis ended in 1986, followed almost immediately by Watchmen and The Dark Knight Returns, two stories very interested in deconstructing the figure of a hero with a cynical eye. While these stories were not in the main DC canon, they would reverberate on the tone of what was to come.

Within the main DC canon, huge shakeups were occurring. There were no more multiple Earths; instead, there was a single New Earth that incorporated the histories of several Earths. The Justice Society had fought in WWII and retired in the 50s, but were still around and able to mentor the younger generation of heroes. There was only ever the one Superman and Batman figure, though DC would later figure out a way to have a Wonder Woman both in the present and among the Justice Society. Many of DC’s biggest heroes were getting revamps to introduce their new continuity: The Man of Steel miniseries detailed Superman’s new origin and once again established him as the sole survivor of Krypton. The Batman: Year One story that ran thorough Batman #403-407 detailed the early history of this Caped Crusader, revamping Jim Gordon and Selina Kyle in the process. Wonder Woman saw her title relaunched with a new #1, with George Perez taking the helm of a sprawling epic that redefined the character. The darker tone of the Dark Age continued to manifest. The Killing Joke was published in 1988, depicting the shooting of Barbara Gordon by the Joker, followed quickly by Jason Todd’s murder in A Death in the Family. Major comic events of the early 90s involved the villain Bane breaking Batman’s back and the monster Doomsday killing Superman.

In the mid 90s, DC was forced to reconcile with the truth that while Crisis had mostly succeeded in tidying things up, things were once again getting messy. To solve this, DC published the Zero Hour event, officially titled Zero Hour: Crisis in Time! (DC really loves to slap the “Crisis” title on anything load-bearing) Zero Hour, published in 1994, featured the Silver Age hero Hal Jordan becoming the villain Parallax and trying to undo time. Heroes banded together to stop him, though the timeline was slightly altered. This introduced many soft retcons—retroactive continuity fixes—that aimed to make things make a bit more sense. The jury still seems to be out on if it succeeded. 

By the early 2000s, DC decided that it was ready for a sequel to Crisis on Infinite Earths, which they helpfully named Infinite Crisis. This event saw the return of several characters from the original Crisis, and more crucially, the return of a multiverse to DC Comics. This multiverse would be refined such that rather than an infinite multiverse of infinite Earths, there were now 52 parallel worlds. Some of the new worlds were established as callbacks to previously depicted alternate Earths, while some were new. Other major events within the Dark Age were Final Crisis, which saw the “death” of Bruce Wayne by Darkseid, and Blackest Night, which saw deceased heroes and villains resurrected as zombies by Black Lantern rings to feast on the emotions of the living.

In 2011, DC decided it was time for another major revamp. They wanted the characters younger and less burdened, and decided to launch The New 52 and end the era of post-Crisis New Earth. This was done with the Flashpoint story, which featured Barry Allen, the Flash, attempting to go back in time and prevent the death of his mother. While well intentioned, this event created a wildly branching timeline that he then had to set right. Though he mostly succeeded, the world Barry returned to was not quite the same. The post-Flashpoint world was dubbed “Prime Earth,” and was… controversial. Much of the post-Flashpoint continuity seemed to harken back to previous Ages–as mentioned, the characters in general were younger. Barbara Gordon, the Silver and Bronze Age Batgirl, was returned to the Batgirl role while her two New Earth successors were written out of continuity. Barry Allen was made the primary Flash of the DC Universe, with the Golden Age’s Jay Garrick and the Bronze/Dark Age’s Wally West removed. 

In 2015, DC would publish the “Convergence” event, which featured an extant Brainiac capturing specific slices from several timelines and pitting them against each other. This included seeing the pre-Crisis Teen Titans operating at the same time as the post-Crisis, pre-Zero Hour Suicide Squad, or the post-Zero Hour but pre-Flashpoint Batgirl. It was messy! But importantly, it showed DC acknowledging their older characters and characterizations, and restoring some of the multiverse that came before.

The Dark Age would eventually come full circle, with the Doomsday Clock event heralding the end of the Dark Age and beginning what we call (for now) the Modern Age. Doomsday Clock was a direct sequel to Watchmen, the iconic comic that helped set the tone for the Dark Age in 1986. Doomsday Clock suggested that part of the reason the New 52 was so different than the pre-Flashpoint New Earth was because Doctor Manhattan, the massively powerful Watchmen character, had removed several years from the timeline to observe how the world would change. Batman and the Flash discovered this meddling during “The Button” storyline, and DC subsequently began its Rebirth initiative.

The Modern Age (2016-Present)

It’s fickle to decide precisely when the Modern Age begins. DC Comics themselves states that the Dark Age ended in 2011, with Flashpoint, though I disagree. Many of the initial New 52 storylines hold on to the darker tone, though there is evidence that around 2014, DC began to pivot away. The DCYou initiative, for example, focused on refreshing some characters to a younger, more upbeat characterization–such as Barbara Gordon in her Batgirl of Burnside era–or by introducing new comics altogether–such as the more lighthearted Gotham Academy series. You may disagree with me on precisely where these eras begin and end, however, and that’s okay.

In 2016, DC began its Rebirth event that sought to reconcile some of the pre-Flashpoint elements into the Prime Earth continuity. This was spearheaded by the return of Wally West, and continued to gradually fold back in pre-Flashpoint elements into the Prime Earth timeline. The events of 2020's Dark Nights and Dark Nights: Death Metal finalized it, placing characters in a sort of super-state of having access to all of the memories of all previous versions of themselves, while still ostensibly having only lived the one life. It’s complicated, but it crucially gave writers the opportunity to have characters make reference to past events that happened on New Earth, canonizing them for the Prime Earth continuity.

The end of the Dark Nights saga resulted in DC’s Future State and Infinite Frontier projects in 2021. Future State’s premise was showing possible futures for various DC characters, and then Infinite Frontier launched characters on possible paths. The emphasis was on this being a new starting point for many characters, both old and new. Jon Kent, the son of Superman, had his own title launched during this time, and Yara Flor, a new Wonder Woman, got a miniseries. On the Nightwing title, a new creative team took over to steer the character out of the “Ric Grayson” amnesia arc, restoring Nightwing to his traditional hero status.

In 2022, DC would publish Dark Crisis, later rebranded Dark Crisis on Infinite Earths (see what I mean about them just reusing the same words for emphasis?) which saw many classic DC villains from across different eras brought together by a powerful force. This continued to delve into the DC Multiverse and establish that everything was metaphorically on the table, leading to the Dawn of DC initiative. Similarly to Infinite Frontier, Dawn of DC was about fresh starts, new beginnings, and updates so that new readers could jump in. The Justice League was disbanded in the wake of Dark Crisis, leading the Titans to become the preeminent Superhero team. The Superman title was relaunched at #1, and many books got new creative teams.

It’s always easier to retrospectively talk about something that has concluded rather than to actively analyze something ongoing. However, I think so far it’s fair to say that DC is attempting to use the Modern Age to craft a more expansive, perpetually new universe. Old characters are getting new attention, new characters are being created, and the depth and breadth of DC’s publication is getting highlighted. The current Modern Age has seen DC focus on expanding its Young Adult graphic novels since 2019, and DC announced in 2024 that they would be bringing back the Elseworlds imprint to tell alternate universe stories. DC has committed to telling more diverse stories in the Modern Age, which I think is crystalized in the various “Celebration” issues published. DC’s annual Pride anthology started in 2021, and subsequent celebration anthologies have featured Asian American and Black heroes and creators. While we don’t know when the current Modern Age will end (I’m already hedging my bets on this eventually being called the “Rebirth Age”) I do think the future is bright.

[onceinawhilemoon]

The World Hinges on Small Details: Jon vs. Sherlock and The Hand-Me-Down Quest

This quest intrigues me so much. It not only raises questions about Jon's “nature”, but also gives us a glimpse of where Sherlock's focus on the small details, and therefore his struggle to see the big picture, came from.

If you're as intrigued by this quest as I am, read ahead, but before we continue, I highly encourage you to go read @spiteful-crow ‘s wonderful writeup on Jon and Sherlock and the Jungian concepts of “anima” and “persona” (here) if you haven't already. Not only does it explain a lot about them and what/who Jon is, but that analysis also serves as a pretty solid basis for most of this one, and it will help make it make sense, I hope!

Under the cut we go-

Quick recap of The Hand-Me-Down quest: Jon notices a first of three riddles engraved on top of a monument called “The Silver Hand” in Old City, and convinces Sherlock to solve them, saying that the riddles lead to a lost treasure. Sherlock is bewildered by how Jon was able to guess that something was on top of the monument in the first place but goes along with it. Eventually, instead of the treasure, they find a magnifying glass that belonged to Violet, buried under a rock. Sherlock is so confused by the discovery and has no clue as to how the glass made it there. Neither he nor Jon seem to remember ever burying it there.

The third riddle stands out the most here, as the last two lines of it read “you may find only one small detail, but that doesn't mean that you have failed.”

Upong finding this riddle, Jon commends Sherlock on his admirable ability to notice the details. This evokes Sherlock's memory of one of his mother’s core teachings:

S: “In such moments I often recall Mother's voice teaching us of the importance of the smaller details. The world hangs on small hinges, Jon.”

J: “Even the most chaotic miracle becomes sequential when you take a closer look. I remember.”

Sherlock’s keen eye for detail is something almost everyone he meets praises him for, and it's an inherited trait from his mother, who was an authenticator and a truth seeker, she taught him that "the truth lies in the details." Consequently, his struggle with seeing the big picture due to focusing too much on the details sometimes stems from his mother's teachings, which he clearly holds in very high regard. She was also the source of his strong moral stance against lies and obfuscation of truth. He was closer to his mother than his brother, even during her worst days. It's no surprise that Violet had a huge and deep influence on Sherlock-she shaped all of his moral views, many of which are being challenged by what he's discovering on Cordona.

The title of the quest, the quest being strongly tied to Violet and her teachings, specifically the third riddle, and of course the magnifying glass, all lead me to believe that Sherlock put the glass there and made up those riddles and the silver hand treasure, inspired by his mother, the monument, and the pirate it was erected in honor of.

Maybe it was also a ritual like burying Siger’s “skull” to help Sherlock process things and move on. Maybe it was to help him process and reconcile with the negative feelings associated with Violet's abusive nature or with her death, or maybe it was simply just child's play. But, as with everything else, after the pond incident™, his memories of Violet and most of his time on Cordona were suppressed and lost to time, including the magnifying glass and the “ritual”. And since Jon seems to remember or at least seems to have a gut feeling about the past and those lost memories, he recalled the riddles and the legend about the treasure, which, interestingly, can be considered as the “creative” aspects of the ritual. Jon may not have remembered the magnifying glass itself but remembered the steps to get there because Sherlock created them with his help. I do believe he is Sherlock's creativity and imagination personified. I've written a (much shorter, thankfully!) theory about that and how I think it's tied to Sherlock calling him his "anima" (here) if you're interested.

And maybe it was something more, if you think of Jon as a Tulpa or one of Carl Jung's thoughtforms (like Philemon, who Jung described as a "guru" possessing of transcendental knowledge and wisdom) this quest could be an example in which these concepts are explored. Jon does act as a guide in the game. He also seems to notice things before Sherlock does sometimes, and points out things that Sherlock has no way of knowing or verifying with empirical evidence at the time, sometimes even despite his physical limitations, like the “engraving” on top of the Silver Hand monument.

I personally don't think there was ever an engraving on top of the monument. I think the idea was for the first riddle to be memorized by Sherlock while the rest to be written down and hidden. This, I think, makes the whole “ritual” much more personal and special to Sherlock. Of course, after what happened, he forgot everything, and Jon was left to remember the first riddle and made it look like he read it on the monument to entice Sherlock to solve it and remember, just like how he invented the fiction that the skull belonged to Sherlock's father.

Then there's their conversation after discovering the glass, which I think perfectly captures the “rational” vs “irrational” parts of Sherlock, or the "persona" vs. the "anima" :

Jon, the “irrational” and creative part that wants to believe in magic and miracles, tells him that sometimes he just needs to let things happen, that some things can't be explained and we should let them be, and Sherlock, the "rational" part that strives for logic and objective truths, has a hard time accepting that, because to him, everything needs to have a logical explanation and a tangible root in reality.

J: “The whole world is one big unresolved chaotic miracle" - That's the part of Violet's teaching that Jon chooses to follow. Jon finds beauty in leaving mysteries unsolved, in the “who knows?” which leaves the door wide open for imagination, in non-linear thinking which leads to originality and uniqueness. He thrives in chaos.

S: “But they will become sequential if you take a closer look" - And that's the part that Sherlock wants to follow. He finds stability in order. He sees the need to investigate to uncover what's hidden and verify facts with evidence to restore structure into the world.

The two parts are both sides of the same coin. They shouldn't be separated because they balance each other out and make up one whole. Thanks to this balance, Sherlock eventually concedes and lets this particular mystery remain unsolved. It must have been freeing for him to just leave it to "fate" and focus on the beautiful feelings that this strange experience has evoked-him feeling closer to his mother by remembering her wisdom and honoring her legacy.

Which makes me wonder how differently Sherlock would have faced the horrors in The Awakened if Jon was still with him to hold his hand and remind him that it's okay if things didn't make sense, that sometimes you just need to let things happen and free your psyche from the weight of fervently searching for logical explanations. Some things are just meant to not make sense, just like that magnifying glass.

Then there's the title of the quest.

“The Hand-Me-Down” I think, refers either to the magnifying glass itself, being a precious heirloom inherited from Violet which later becomes Sherlock Holmes’ signature crime solving instrument, or the mindset of “the world hinges on small details“, also passed on from Violet and the reason why Sherlock is so keen on the details that he sometimes struggles to consider them within a broader perspective-the big picture-which can cause him to tunnel vision on isolated facts and possibly risk making ill-informed decisions. A notable example is concluding that “Richter tried to save my mother; therefore, he was an innocent man who was wrongly accused,” while disregarding the fact Richter and his medical malpractice caused his mother to deteriorate in the first place.

Finally, there's what Jon wrote in his diary after discovering the glass:

“But when Sherry looked at me through that glass, I was suddenly struck by terror. For a brief moment, it felt as if I weren't there at all, his gaze passing through me and over the horizon.”

Jon rarely gets “deep” in his journal, so this line stuck with me. Jon is pretty aware of his “non”-existence and even seems pretty in peace with it, so why would he be struck by terror at the idea of him “not being there at all”?

The choice of words in “his gaze passing through me and over the horizon” signifies the future; Jon is terrified of a future in which Sherlock doesn't see him anymore; when he favors his rational and mature side so much, that it ends up consuming him and severing Jon, his anima, his irrational and creative part that clings to his childhood, from the whole. If Sherlock stops seeing Jon, only then does Jon truly cease to exist.

I think this means that at this point in the story, deep down in his unconsciousness, Sherlock knew that when he leaves Cordona this time, he'll be leaving Jon with it, and this gut feeling, this terror at being fractured and fragmented, possibly with no way of ever getting mended, manifests through Jon as he constantly tries to alert Sherlock to the danger of the situation, that once he steps through the threshold, there's no turning back.

[victorianpining]

The Game is Now

(Well The Game is over a year ago, if you want to be technical about it)

I finally took the time to write up my notes and reactions to the original BBC Sherlock Escape Room Experience! Sorry in advance if things are a little vague at points, we only played through the room once and am mostly running off of iphone notes I wrote 13 months ago. I hope to be able to go back to try out the new Mind of Moriarty room during its run, if this one was anything to go by, it should be a fun time!

My usual disclaimer that while this is a TJLC slanted writeup, I'm just playing The Game for fun at this point, I really am not expecting any of this to lead anywhere. Enjoy your television responsibly, don't idolize television writers, eat your veggies, etc. etc. etc. And spoilers for the room, obviously.

Oh, and huge thank you to @watermotif @betweendoctorsanddetectives and @647763 (and her girlfriend) for playing the room with me! I had a blast suffering with you all <3

The way I'm getting myself to finally actually write this up is by telling myself it's okay if my thoughts are a little informal, especially after this long, so this is going to be written the way I usually structure my outlines in the format of chaotic bullet points. Hopefully it's still readable!

I'm starting my recap of the experience outside of the escape room itself, which was located in what was, for all intents and purposes, a random, abandoned seeming mall in London (it wasn't actually abandoned malls are just like that now)

So imagine you are just walking through what looks exactly like your local, very dead, mall, when there's just this massive wall with dark damask wall paper and the most DFP Sherlock quotes you can conceive of plastered on it. Think "I may be on the side of the angels but don't think for a second I am one of them" "heroes don't exist and if they did I wouldn't be one of them" "I'm a high functioning sociopath" etc. It's already hilarious

You come around the corner from that and there's the gated off "Doyle's Optometrist" office, where you have to page in (I think we had to state our group name, I can't remember exactly how we got in)

Once you're inside the staff helping you are named Stamford. Yes like Mike Stamford. Yes all of them. If you didn't know you were in for psychological torment, you do now

[brief intermission here because some of us arrived early, so they actually let us through to the Mind Palace bar while we waited. It was pretty cool, apart from the guy working there being really pushy about ordering drinks. The bar is Victorian themed with framed pictures from TAB and the biggest one in the room, like by far, was a framed picture of Sherlock and Moriarty's little gun standoff, so you know, that was fun.]

[here we are trying to be normal about it]

[also I went to the bathroom at this point and there was a little sign in the stall which said that the Sherlock theme song was exactly the right length to wash you hands to which was the most ridiculous thing I have ever seen in my life]

Anyway back to the intended order of the experience, Stamford led us back to the optometrist waiting room where we sat calmly while John Watson's voice read out random advertisements. (The only one of these I wrote down was "the eyes are the legs of the face" because it was so random, but there was a set of them)

Also as you will see in the following picture, the posters in here were Bananas

(In case you can't see it since it's small in dash, the purple one behind Mia says "Doyle's Audiographs: for those who hear but don't listen" very evocative of the "I did tell you but did you listen" motif, 0/10 very infuriating)

Stamford came over at this point and brought us back and gave us the rules, which included no photography so photos end here unfortunately

So we were taken to a projector room where John Watson addressed the players, saying that while it says the office belongs to Doyle, this is actually a front for one of Mycroft's plans (ha ha ha (deadpan)) and that he's coopted John into helping. (hah. do you get it? the author and the narrator? hillarious)

It was so clear that Martin did not want to be there. Like yes John in character also doesn't want to be there but Martin literally looked like he was being held at gunpoint. His eyes were dead. Poor guy.

Stamford led us through another room into the 221B living room! Being in here was surreal. Because there are a few groups lumped together at this point, we had a bit of time to look around the room. Rachel found a book about fetishes on the mantle, which was something.

We took our group picture, they let you pick from a few props. I went for the white queen chess piece for Dracula reasons and got bullied into wearing the deerstalker, which was homophobic.

Also the skull was the Yorick version, and I took a moment to stare into ACD's eyes, out of respect, as one does.

At this point the game proper begins! Sherlock's voice comes on (Ben is not on camera other than one brief exception which we will be coming back to later) and starts prepping us for our mission.

I don't remember the context but I think while telling us to be careful in the flat he told us "don't scrape your knees, or do." which was funny considering "the state of her knees"

Mycroft then addresses the audience (hah) only to be interrupted by Moriarty (hah) hacking the TV (hah hah hah)

The mirror above the fireplace? Also turns into a TV that Moriarty hacks. Ha. Ha ha ha ha.

Moriarty informs us that he has kidnapped Mycroft so the point of the game is to save Mycroft from Moriarty (I was fighting the urge to bash my head against the walls of 221b at this point, like I was expecting M Theory but like Come On you're killing me here)

You may be wondering how exactly Moriarty has kidnapped Mycroft considering he is dead. Great question! You don't get an answer apart from Moriarty saying "remember I am definitely dead" in the most sarcastic voice I have ever heard come out of Andrew Scott's mouth. Full psychological warfare at this point. Having a great time. The usual.

Also at this point, while talking about Mycroft, Moriarty compares him to Sherlock, and he definitely listed off a bunch of things but the part that most stood out was he said verbatim "Mycroft is like Sherlock without the fangirls or sex appeal" so uh. Um. Yeah. M Theory Time!!! All Aboard!!! Choo Choo!!!!

We were taken to the first of our three puzzle rooms: the morgue at St. Bart's. Moriarty is introducing the room and jokingly refers to the brief time he spent dating Molly, lets us know that our goal is to break into the computer system (a development which had me thrilled, you know I love the Moriarty as a Virus angle)

Not one full minute after Moriarty joked about Molly being his cover, Molly voice over talks to John (who by the way has a beard at this point, that I had not mentioned) and goes "nice beard!" Hah. Hah.

To get into the computer we needed to put in a date, I don't remember the context for this puzzle but the answer was 2012, the year of Season 2.

The case in the middle of the room then lights up and you're able to see the corpse. On the computer, a database comes in, and in order to get into the server, we need to fill out a series of questions about the identity of the corpse.

One of the filters is the relationship status of the corpse with three options, single, married m/f, and married m/m. I let out the most exhausted sigh of my entire life and hit married m/m without even looking at the corpse. (we briefly removed it because the room was giving us clues out of order that made us think for a moment that this was wrong, it was not, the corpse is gay, you have to not assume he's straight. Do you get it?) (war and strife on the planet earth)

So the clue for that is that the corpse has the name Stephen tattooed on him (really? of all the names? Stephen????) and you're meant to figure out that he wouldn't get a tattoo of his own name. Or just be so mentally exhausted that you intrinsically know the corpse is going to be gay because of course he is.

If that wasn't enough, the corpse was also a member of the Royal Navy who was left handed. Hi John.

At this point my friends in the room with me pointed me up to the TV in the corner, which was showing random news feed but the ticker tap at the bottom was advertising BBC Dracula, which was fun.

When we were finally getting into the cage the server was in, Moriarty kept ominously chanting "let me in"

Again, don't remember the context, but one of the clues in this room was identifying the heart

We discovered the corpse died of a horrific virus (hah) just as Moriarty hacked into the server thanks to us (once again was genuinely enjoying the code stuff, this is a 10/10 from me, makes fadow better for everyone who has done this silly escape room sdhgakjdsg)

The second room was Mycroft's underground office and our task from Moriarty was to locate where his agents were stationed throughout the world and once again send off his virus. I was giggling.

Flipping around with switches on Mycroft's desk, we found that the mirrors on either side of the room were actually windows! Because of course they were!

Sherlock comes in with a clue at this point and lets us know something to the effect of "Mycroft likes to hide clues in photographs" which was uhhhhhhhhhhhhhh.... normal.

Those are my only notes for this room and I don't remember literally anything else about it so sorry about that on to....

The final room: The Victorian Operating Theater! Oh boy!!!

Moriarty has been using us to access the genetic code (hah) for a virus (hah) last scene in the Victorian Era (hahahahahahahaa). He literally phrases it as "an old treasure brought into the modern day." Hillarious.

Then the absolute highlight of the experience: there's this giant console thing in the middle of the room that comes to life with all these screens, and on them including Moriarty taunting us and, the absolute 12/10 winner, footage of Sherlock wandering around 221B. This is the only Ben footage you get and not only does it confirm the "Moriarty is always spying on Sherlock" part of M Theory, it's very similar to the wall of monitors I came up with for fadow. Fellow Moriarty fan Mia and I were dying at this as much as we were able to while still trying to solve the room.

Moriarty freed Mycroft but had infected us with the virus (this is why I joke that Moriarty gave me COVID, because I caught it this day and it might as well have been from him)

His plan was to unleash the virus on the world unless we could stop him

This room was more physical puzzles than mental, and we had to cure the brain, the heart, and the lungs respectively. The brain and the heart are obviously big Sherlock meta staples so since then I've been like "why the lungs tho?" My best guess is it has something to do with breathing new life into an old story, but that's just a guess

While we were solving it and making progress Moriarty came on to rant something like "the game was over! You should have known when to give up!" Flames, flames on the side of my face.

When we won, Sherlock insulted us, but Mycroft then came on to compliment our efforts and talents, which was a great way to leave off.

Apparently only 20% of people actually solve the room, and we were in the top 20% of that, all while trying to take in the meta of it all, go League of Furies!!!

Final thoughts: this really was like if watching the show was a thing you could live through in real time. If you've ever wanted to be tormented by Mofftiss in a more visceral way, this room is exactly what you're looking for. Also shoutout to Andrew, who acted his absolute heart out, 15/10 thanks for all the M Theory, it was delicious

Also once again to reiterate, I can't believe James Moriarty gave me COVID, after all I have done for him, rest in pieces except he isn't even dead all the way.

I guess 4 months of not being able to breathe fully was the real lungs meta all along.

Can't wait for the Mind of Moriarty game next though for real, that's gonna be Bonkers, if one of the scenes is a virtual version of the waterfall scene from TAB I think I would combust on the spot

Thanks for reading!!! Sorry this took me forever only to be such a casual writeup in the end, but hopefully this recreation of my mental breakdown in a mall was entertaining.

[shithowdy]

i'd really like to see someone do a full writeup on the sheer glut of specifically "black genre art" amongst generative image spammers. it's at the point where if i see something tagged with any iteration of the word "melanin" i'm automatically hunting for generative artifacts and usually end up being disappointed and right.

i think at least part of it has to do with the prompts that are used; just due to the general disparities in representation in art, the pool of art on which black characters can be trained is a lot smaller and often made by black creators themselves. the ai datasets all think "woman" means the same nebulously asian woman with porcelain skin and huge tits, which means that if they want to specifically generate a "black woman" they have to do a lot more inputs with a lot more specific references to the artists they are trying to mimic.

this means that if someone wants to portray a black character with AI, most of the data they are using is from a genre of art that specifically celebrates blackness ("black girl magic", african themes/patterns, lots of yellow, big natural hairstyles, etc.), so anything generated also has that same unrepentant theme to it, just without any of the actual pride and joy that would have gone into an original work, defeating the purpose and saying literally nothing.

the prevalence of this stuff is just kind of overwhelming, though. it somehow feels more predatory than your usual ai stuff.

that person on the radar is a pretty peak example of it. you can see the ghost of a signature on this one... i wonder from whom they stole.

[scarlet--wiccan]

Hello! I wanted to ask a potentially hardish question. How do you feel about non-Romani engaging with Tarot, doing paid reads, and such? Do you think it's okay for everyone to partake in it? Would you at least want people to be more informed of its origins?

My general attitude, when it comes to anything related to magic, fortunetelling, etc, is that we should be focusing more on cultural restitution and historical authenticity than trying to make a list of who can do what. When it comes to tarot, there's a lot to learn, and a lot to unpack in both of those areas. The short answer is that I don't believe that tarot is, or should be, a closed practice. There is, however, is a deep legacy of racism in the evolution of tarot as a fixture of mainstream culture, and the fortunetelling industry is rife with Romani exploitation. I believe that understanding this, and integrating it into your actions and conduct, is key to developing an ethically and spiritually holistic practice. And I think that applies to all forms of magic and spirituality-- racism and colonialism are very common in magical spaces where historical understanding is not encouraged.

If this is something you'd like to learn more about, I would highly encourage you to pre-order Secrets of Romani Fortuntelling, which is an upcoming book written by my friend Jezmina von Thiele and their Romanistan cohost, Paulina Stevens. Preorders make a huge difference for small publishers and new authors.This book is an authentic new look at fortunetelling practices in Romani culture and I, personally, think everybody who reads tarot needs to buy a copy.

If you'd like to receive a reading from a Romani practictioner, I am running a donation drive for Palestinian families and offering online tarot readings with personalized writeups and graphics as rewards.

My understanding is that tarot, and cartomancy in general, are closely tied to Romani culture and history because they were trades that Romani families developed and practiced as a form of survival work*. The same is true for several other types of fortunetelling and folk magic practices. There is an element of cultural preservation and ancestral custom in a lot of these skills, but ultimately, this is something that was meant to be shared with non-Roma, so it's not a closed practice, in that regard. And it's worth mentioning, of course, that many of these skills and devices were adapted from existing aspects of Western culture. The original tarot deck was, after all, just a set of European playing cards.

Over the centuries, tarot has really taken on a life of its own outside of Romani society, as both a popular practice and object of cultural fascination. There are other cultures who practice divination and fortunetelling for very similar reasons, and because tarot is so universally known, it's become a tool that is shared by many, and I think it informs the way folks approach cartomancy even when they're using other devices. And I think that's really beautiful! Unfortunately, there is also a more painful part of this history that also needs to be acknowledged.

Most modern tarot decks, and much of the basis for how we read them, are the products of 19th & 20th century occult and esoteric movements in the West, which often held an Orientalist fixation on Romani, Jewish, Middle Eastern and East Asian cultures. When you look at the works of Levi, Crowley, Waite, and so forth, you'll find a lot of fabricated histories and colonial fantasies about these cultures, and that informed the symbology with which they designed the formative modern decks we know today as the Thoth and Waite-Smith tarot. In my opinion, Jewish and Romani peoples were the most heavily exploited by this movement. It just goes to show how deeply our histories a diasporic people are connected.

Here in America, many states have legislation intended to police or even outlaw the fortunetelling trade, and you will often find that these laws are based in anti-Romani racism. Furthermore police are known to profile Romani citizens and families as scammers, and a lot of the language used to describe these "scams" in both police documents and the media employs racist language and stereotypes. Despite this, non-Roma, particularly white people, are often able to turn fortunetelling into a lucrative business by using their privilege to safely navigate the legal system's impositions-- and many of these white people love nothing more than to dress up in an approximation of Romani costume in order to give themselves an exotic, mystical air-- just like Levi and Crowley before them.

So, it's my opinion that the modern fortunetelling industry and the last several generations of tarot knowledge were built, both directly and indirectly on Romani oppression. People need to understand this history, and their place in it, in order to understand how they, personally, have arrived at their own relationship with tarot. Once you do understand that, you can begin to incorporate anti-racist intention and action into your practice. If you want suggestions, providing historical acknowledgement and Romani resources to your clients is a great place to start. Being an ally and being in community with us in our fight for human rights is even better. If you own a business or a shop, you can divest yourself from problematic suppliers, or learn how to identify racist books and decks, and stop selling them. Make sure you're not exploiting or perpetuating Romani stereotypes and call other people out on it, too. And if it's possible, really reevaluate the way you have arrived at your understanding of the cards, and how you communicate with them. Look past information that has been sold to you and seek personal authenticity. You'll be a better reader for it.

*What I am describing here is not a universal experience. Some people and some families practice these trades, not all. Romani people are not a monolith, and this is not a defining aspect or Romani culture.

[156l]

sample concept redraws of Ancient Dragons Ice / Fire / Shadow, + Shade-afflicted versions... + Lore Rewrite

HUGE WRITEUP what I would fix overall lore / storywise / physical traits under the cut

I might also post this in Creative corner for my own lulz, but yeah. I just needed this out of my system lmao. I don't think I will do the other breeds but here's a sample gist of it

Bigg TL;DR : Too much potential wasted

FR places huge emphasis on how the Shade was a huge force to be reckoned with. At the end of the Third Age, the Shade had broken the barrier and clearly destroyed "their best ward", before leaving.

In the Gaoler story, there is a huge emphasis on being "Shade-touched", and the Gaolers make it a serious duty of imprisoning Horrorbeasts, which are massive Shade creatures. There is massive potential of what these beasts could be and from just smelling it, anything from just a drop of Shade to full corruption is taken seriously.

Think of Code Corrupter from Halo : they are to be eradicated as swiftly as possible because they are just that strong.

Bounty Of The Elements Core Rewrite :

What I'm saying is, Bounty of the Elements could be the events of the Lightning Flight screwing a massive leyline that runs through Sornieth, causing a HUGE shockwave that causes the other stories to happen.

This could inadvertently reawaken many elemental energies and lines, but also cause Shade fragments to awaken, and also revive Ancients that have been extinct for a long long time. Some are properly reawakened and normal, but most of them have already fallen prey to the Shade of a war long long ago...and become monstrosities...thus what we have in the Fortress of Ends!

The result, the uncorrupted / still sane Ancients try to find their way to get help / help the poor Modern dragons and Beastclans that are confused by all these Horrorbeasts. The Ancients,Moderns and Beastclans can then share their knowledge to try at the very least contain the Shade's influence.

[ GAOLER ]--------------------------------///

To me, the Gaoler are almost perfect lore and designwise. The only things I would change would just be the stubby wings and fully convert them to muscular arms that are for beating down enemies. They are jailers and they would need a TON of power to muscle rampaging Beasts.

This makes them formidable warriors, but should any ever be corrupted, they are hell to deal with.

[ BANESCALE ]--------------------------------///

Chicken was the literal first thought to mind and that thing hurt to look at. The banescale are mentioned to be huge fans of crafting and armour and this is a huge massive point -- they could have been capable of things that bested the Shade's attacks.

I would make their design to be more stocky akin to a typical Wyvern and have more armour plates all over. They are bulky at the top, but their wings would be leather as the Flamecaller. The armour they make would augment their already ridiculously buff scales and massive spike tail.

The Banescale would have been revived underground by the elemental energies, and would have carried on creating everything, as if time was just frozen from them. Only in the events of Temper, Temper do they realise that they can get out and realise the world has changed drastically, and on learning the situation, work with the Fire Flight's denizens to create fantastic armour with modern materials.

[ Veilspun ]-----------------------------------///

Just bug on the wings??? Come on man. A portal is a powerful device and there would have a been a reason they were locked away. The energies would have awakened them, and there could be a elemental reason; Shadow flight is ironically more susceptible to Shade influence than the rest of the other flights, bar maybe Plague.

The Shadowbinder is a huge huge trickster and the flight reflects that, but even more to the design of everything. Nocturnes are a, personally, imitation game gone wrong. But they have something right and it's them mimicing behaviours when needed.

The Veilspuns could have been utter masters of deceit right down to the design, based off a Leaf Insect and legs of a chameleon. Since they are tiny, they can be in the THOUSANDS, and this force would even make a Shade touched go down for the count. The massive drawback would be that the Shade easily "infects" them by the numbers, leading to whole wars between infected and normal Veils under the darkness of night.

They can teach other dragons the art of stealth, even when they are massive creatures, but requires a lot of magic, and the massive energies would be a huge help...

[inaconstantstateofchange]

I come to you on my hands and knees (relevant to the topic right lol) begging for any and all info on Bane, Banites and how it all ties in with Gortash. I love you in advance. <3

Bane and His Cult

Alright, so after twelve and a half hours of research I still don’t fully feel like I have enough, but at a certain point I just need to get this out there, and if there is anything you – or anyone else – would like to see explored in more detail, please feel free to ask! 

Note: I love getting asks like this! There is such a vast quantity of Realmslore that having some sort of specific focus for my deep-dives is a huge help, and knowing the topic is of interest to others is a huge motivator. I also greatly enjoy getting to put my training as a historian to work, as there is so much to interpret and archive alike. 

As ever, these writeups will align with current 5e lore, and draw from 3.5e for additional supporting information. On rarer occasions – and always noted – I will reference 1e and 2e, but with the caveats that there is much more in those editions that is tonally dissonant with the modern conception of the Forgotten Realms, and thus generally less applicable.

We’ll begin with one of the most recent conclusive descriptions of Bane, from the 5e Sword Coast Adventurer’s Guide, an overview of the current world-state of, well, the Sword Coast: 

Bane has a simple ethos: the strong have not just the right but the duty to to rule over the weak. A tyrant who is able to seize power must do so, for not only does the tyrant benefit, but so do those under the tyrant’s rule. When a ruler succumbs to decadence, corruption, or decrepitude, a stronger and more suitable ruler will rise.  Bane is vilified in many legends. Throughout history, those who favor him have committed dark deeds in his name, but most people don’t worship Bane out of malice. Bane represents ambition and control, and those who have the former but lack the latter pray to him to give them strength. It is said that Bane favors those who exhibit drive and courage, and that he aids those who seek to become conquerors, carving kingdoms from the wilderness, and bringing order to the lawless.¹

This gives us the briefest summation of what draws people to the Cult of Bane: the desire for power and control, often deriving from a sense that they lack exactly those two things. Bane is the quintessential deity of lawful evil, which – if you’ve read any of my previous posts on the sociology of the Nine Hells – bears a striking similarity to Baator itself, the realm of lawful evil, and the place where Enver Gortash spent at least a portion of his formative years. 

The majority of the following excerpts derive from 3e, which went into far more detail on the specificities of the Faerûnian gods, including their dogmas, holy days, et cetera. One important point to note, however: any discussions of Bane’s scope of power are no longer accurate, as the time period in reference is about one hundred and twenty years before Baldur’s Gate 3 is set, at a time when Bane had just returned to life – and godhood – as nothing less than a greater god. By comparison, during Baldur’s Gate 3, he is a quasi-deity, having abandoned most of his previous godly power in exchange for the ability to directly meddle with Faerûn – forbidden to the gods by the overgod Ao – and gambling that he would be able to regain his lost power and prestige in so doing.²

The dogma of Bane – that is, the core tenets and philosophies that his followers seek to emulate – is as follows: 

Serve no one but Bane. Fear him always and make others fear him even more than you do. The Black Hand always strikes down those that stand against it in the end. Defy Bane and die — or in death find loyalty to him, for he shall compel it. Submit to the word of Bane as uttered by his ranking clergy, since true power can only be gained through service to him. Spread the dark fear of Bane. It is the doom of those who do not follow him to let power slip through their hands. Those who cross the Black Hand meet their dooms earlier and more harshly than those who worship other deities.³

Even were there nothing else to go off of, this would tell us a great deal about the group dynamics of any followers of Bane, whether established church or fragmented cult. Just as in the Hells, hierarchy is everything to proponents of lawful evil. Any cult of Bane would have a strict order to its power structure, and there would be limited – practically nonexistent – tolerance for any questioning or insubordination of that order. To the minds of Banites, such is simply the natural and superior ordering of the world. These interactions are detailed below: 

Within the church, the church hierarchy resolves internal disputes through cold and decisive thoughts, not rash and uncontrolled behavior. Bane’s clerics and worshipers try to assume positions of power in every realm so that they can turn the world over to Bane. They work subtly and patiently to divide the forces of their enemies and elevate themselves and the church’s allies over all others, although they do not fear swift and decisive violent action to help achieve their aims.³ 

The manner of tyranny that Bane holds to is similarly calculated – he is not interested in mere shows of force, but rather in insidious plots that twist and make use of existing rule of law to legitimize tyranny wherever possible. A social tide operated ostensibly within the laws of the land is far more troublesome to fight back against than a simple army.⁴ 

As far as specific ritual and day-to-day workings of the cult, some can be evidenced here, in broad strokes: 

Bane’s clerics pray for spells at midnight. They have no calendar-based holidays, and rituals are held whenever a senior cleric declares it time. Rites of Bane consist of drumming, chanting, doomful singing, and the sacrifice of intelligent beings, who are humiliated, tortured, and made to show fear before their death by flogging, slashing, or crushing.³ 

In this sense, rituals seem most likely to be used as a display of power and a test of subservience, leaving lower-ranked members of the cult at the whims of their superiors, expected – as noted previously – to attend to their commands with the same alacrity they would use were Bane himself to speak. The rites themselves are designed to reinforce and glorify the primary aspects of their god’s domain: the tyranny of forcing submission and pain from the weak. 

Faiths & Pantheons, published a year after the Campaign Setting supplement, provides a similar description of the rituals of the cult of Bane, along with some intriguing and flavorful additions (noted in bold for ease of comparison): 

Their religion recognizes no official holidays, though servants give thanks to the Black Hand before and after major battles or before a particularly important act of subterfuge. Senior clerics often declare holy days at a moment's notice, usually claiming to act upon divine inspiration granted to them in dreams. Rites include drumming, chanting, and the sacrifice of intelligent beings, usually upon an altar of black basalt or obsidian.”⁴

As, in the “present day” of Baldur’s Gate 3, Bane has lost much of his foothold on power and his Faith’s old domains, the specifics of architecture of Banite keeps are no longer quite so relevant. However, in times past, when his Faith worked far more openly and held much greater power, the philosophy of Bane was expressed through the architecture of his churches and strongholds: 

Tall, sharp-cornered stone structures featuring towers adorned with large spikes and thin windows, most Banite churches suggest the architecture of fortified keeps or small castles. Thin interior passageways lead from an austere foyer to barrackslike common chambers for the lay clergy, each sparsely decorated with tapestries depicting the symbols of Bane or inscribed with embroidered passages from important religious texts.⁴

The social capital of a Faith – a broad term used to encapsulate all followers of a single deity – is often heavily intertwined with the power of its god, a mutualistic relationship that runs in both directions. More social weight behind the Faith means its god’s name and will is conveyed to more people, some or many of whom might apportion some worship or act in alignment with that god and empower them by so doing. More power for the god means more divine actions that can bolster their own image and the reach of their clergy. At its height in the late 1300s, the Faith of Bane was one of the most prominent and powerful, with comparable might to that of a small kingdom.⁵

Something that is important to bear in mind in a setting such as the Forgotten Realms, not only polytheistic, but an environment where the gods being worshiped are demonstrably existent, is that the followers of evil gods are not likely to be obtrusive with the less savory aspects of their dogma. Not only would that, in the majority of cases, do more harm than good to their deity’s long term goals, in the words of Elminster: 

A dead foe is just that: dead, and soon to be replaced by another. An influenced foe, on the other hand, is well on the way to becoming an ally, increasing the sway of the deity.⁶

All of this aligns with what we see of the Cult of Bane and its operation in Baldur’s Gate 3. While it does not have the same sway and might behind it as it did a hundred years before, through manipulation of law and carefully applied pressure – of whatever form most likely to yield the desired results, be it threats, bribery, blackmail, or use of hostages – Gortash has enacted a steel web of delicate, ensnaring tyranny across the entire city. 

We can even find present-day expressions of the interactions of the cult members, and find that they hold true to what their forebears experienced, further proof of the consistency of lawful evil. A personal note found on the body of a dead Banite guard at the Steel Watch Foundry calls the Black Gauntlet in charge of the Foundry Lab, Hahns Rives, a “disgrace to the Tyrant Lord”, and notes the writer’s intent to “compile a list of Rives’ shortcomings for the Overseers.”⁷ These shortcomings include: 

1. Rives failed to reprimand Polandulus for making jokes about Lord Gortash! 2. Rives missed the morning mass to Bane - twice! 3. Rives didn't punish Gondian Ofran when she missed her gyronetics quota merely because she'd lost a finger that day in the punch press.⁷

We can see evidenced here the constant scheming for position and recognition consistent with this manner of lawful evil hierarchy. Both devils and Banites orient their day-to-day lives around how to prove themselves to their superiors, while also undercutting them at any chance they have to prove their own superiority, with hopes of being raised above them. 

This is only reinforced further by another text found within the Steel Watch Foundry, Bane’s Book of Admonitions. Its text is not written out for us, but described as such:

A book of adages and precepts for Banites, providing the basic tenets of worship of the Lord of Tyranny, with suggested prayers for common situations. The heart of the book is Bane's Twelve Admonitions, a dozen rules for proper Banite conduct, with punishments specified for failure to comply. The book opens easily to a page with two of Bane's most popular admonitions, number six, the Reprimand for Leniency, and number seven, the Rebuke for False Compassion.⁸

The most likely scenario is that this book was used by the “Overseers” referenced by the anonymous Banite writing of Rives above. The exact position of the Overseers is not made clear, but from context and knowledge of Banite hierarchy, we can infer that they inhabit a place in the hierarchy above both the guard and Rives himself, and that their role is to ensure all those below them uphold the tenets of Bane at all times, never losing sight of his will. 

In that context, it makes sense that they would both have a book of specific punishments for specific infractions – rule of law, after all – and that, given the attempted report on Rives, punishments (“admonitions”) for the crimes of leniency and false compassion – and all compassion is false when your conception of the world does not allow for its existence – would be those most referenced. It would be incredibly important to the unity of the cult, as well as to Gortash’s plans, to harshly punish any observed leniency or break from Bane’s law among members of the cult.

Not only would failure to control the situation at the Foundry potentially spell failure for the schemes of Bane’s Chosen, any unpunished step out of line by members of the cult would be seen as tempting others to do the same, a trickle of dissent quickly becoming a flood. Better to ensure that all adherents live in merited fear of the consequence of failure. 

After all, it is said of Bane himself: “He has no tolerance of failure and seldom thinks twice about submitting even a loyal servant to rigorous tortures to ensure complete obedience to his demanding, regimented doctrine.”⁴

And, in an appropriately lawful hierarchy, the same rule must apply from the bottom, to the top.

¹ Sword Coast Adventurer’s Guide. 2014. p. 26.

² Descent into Avernus. 2019. p. 231

³ Forgotten Realms Campaign Setting 3E. 2001. pp. 237-8

⁴ Faiths & Pantheons. 2002. pp. 15-16.

⁵ Forgotten Realms Campaign Setting 3E. 2001. p. 93

⁶ Ed Greenwood Presents: Elminster’s Guide to the Forgotten Realms. 2012. pp. 135-6.

⁷ Rives’ Failures as a Banite. Baldur’s Gate 3. In-Game Text.

⁸ Bane’s Book of Admonitions. Baldur’s Gate 3. In-Game Text.

[getvalentined]

I think it's time to do a proper Angeal analysis writeup. It will probably take a couple days, but I finally feel like I understand him enough to do a proper analysis of the character with regard to motivations and how that impacted the storyline, the way I have for others in the past. (Genesis, Gillian, Claudia, Lucrecia, Sephiroth, the Beaker Brigade, I do this a lot.)

I've held off on this for a long time, not only because I've literally been told to kill myself for talking offhand about how a large portion of the tragedy in his story was self-inflicted, but also because I didn't really feel like I understood his motivations enough to do that level of analysis. Most of my fandom rambles related to the character are very much rambles, meandering monologues for which I don't have a particularly organized thesis, but with First SOLDIER I really think I've finally figured him out.

And...honestly, it just makes me really fucking sad. Like the more I think about it, the less anger I have toward him as a 'person' and the more pity I feel toward the guy. I've always thought he was well-written, but I was missing this one piece, this one implication that serves to explain literally everything—and it's a piece I personally, intimately understand.

Mind you, others have done this before, and probably better than I will, but the points I want to hit aren't really discussed in other places, so I feel like it would definitely add something to the conversation.

I dunno, man, I just think he's a really good character, and that people are doing him a huge disservice by pretending he really is everything he says he is. I think writing off his flaws and negative aspects reduces him to less than a caricature, and he's so well-written he deserves better. Those flaws are what make his storyline make sense, and what make it so fucking sad. Those flaws are what justify his behavior, such as it even can be justified, and they make him so much more than the "good guy in a bad situation" that most people portray him as.

[seaofreverie]

Sparkstember Day 4: Propaganda (Never Turn Your Back On Mother Earth)

At first I was going to open my Propaganda writeup with something to the same effect of "unPOpULAr oPinIOn!: propaganda > kimono!!!!" but you know what, even something as tame as this (prefering one album over the other, you know) feels wrong to say when we're dealing with two masterpieces (and even then it's probably not that much of an unpopular opinion anyways, lol). And yeah, I'll admit, that as I hinted at yesterday, for the longest time I really did fully stand by my opinion that Propaganda is not just something I like more than KMH, but it's just objectively BETTER. Well, the funny thing about opinions is that they can change everyday and again, I really don't feel about this quite as strongly as I did before! Not to say that Propaganda isn't still my personal favourite out of these two: it very much is, and it's also much more beyond that.

It used to be EXTREMELY rare for me to listen to an album and and get super obsessed with it and listen to it on repeat, I always needed something else to mix it all with, so when it did happen, it was a very big deal. Even bigger the deal gets when such obsession leads to becoming even more obsessed with everything else put out by the band behind the album over many following months, which only happened to me twice so far... And sure enough, with Sparks, that historic entry point was Propaganda.

I think I should call this album simply addicting: that's how it felt in the beginning and honestly still does to this day. It's impossible to listen to it just once. Something about it just grabs you immediately and completely and it just NEVER gets old or overplayed, I could try to figure out what it is exactly but I've no idea, it's just that Sparks magic I suppose! But as for some of the things I can definitely say that make me love this album this much:

It just flows sooooo well. For the longest time I had no clear favourites and least favourites, they all work so amazingly as a whole package and individually too of course. I think it's a perfect album in the way that you don't even think about it when you listen to it: the sequencing and all the different ideas just work so well together, it's kind of, seamless?

Something about it feels very modern to me once again, and I must say that I still do think that it's a clear improvement over KMH in many ways: more variety, more interesting turns and twists, more energy for sure too (and I have a very big bias for high energy and "intense" music, so I can't pretend that this isn't something that matters to me a lot). And even then we have some slower tracks that don't break the flow at all, I mean, ok, maybe only one such track really, but still, that applies even moreso in that case

So all in all, yes, this is definitely one of my favourite albums in existence. It continues what KMH started while bringing in even more of that special Sparks flavor that feels completely unimitable. And it has lots of cool keyboard lines, as do... most Sparks albums, but maybe it feels more prominent for me on Propaganda since it was the first Sparks thing I listened to on repeat for hours and days on end, so that was also definitely a big part of what drew me in initially. I guess I could really just try to figure out what makes this album as freaking good as it is for hours on end but it feels like I'm already running in circles a bit here so let's give this a rest for now.

Favourite songs (and other highlights):

Propaganda: he-LLO SOLDIER BOY! perfect opener and lead in into the next track. I'm a HUGE fan of when Sparks do these kind of intros (gratsax.... EXOTIC CREATURES...)

At Home, At Work, At Play: not an EARLY fav but I truly think this is one of the best Sparks songs. Peak intense energy and everything else, very special all in all

Reinforcements: another very early big Sparks fav so I'm pretty partial to it and also somewhat nostalgic about it for that reason

Thanks But No Thanks: love the keyboard line especially....

Never Turn Your Back On Mother Earth: the bridge especially is peak, and is that a mellotron I hear here? Or something very similar, either way, that's another certified Iconic moment

Achoo: this song makes me SO nostalgic, I don't know if it's the chord progression or something else but listening to it makes me seriously so unexplainably happy and I love the bridge here an absurd amount too. The baseline is so good also

Bon Voyage: this and Never Turn Your Back are a bit of a duo to me, both more grand in sound than the rest here perhaps, and absolutely showstopping live too

[canmom]

Animation Night 163 - Yokohama Kaidishi Kikou

Good evening everyone! It's time at last for Animation Night. And what do we have this week... did you guess an OVA from the 1990s? That's always a safe bet with me and sure enough that's what we have tonight: ヨコハマ買い出し紀行 Yokohama Kaidishi Kikou, or in English, Yokohama Shopping Log.

I'm going to keep my writeup tonight brief, because I am fully kvin's homework on this one and I think rather than paraphrase what he wrote, lemme link the article. Here is an introduction to the series...

Nearly 3 decades after it was first published, Yokohama Kaidashi Kikou remains the poster child of mono no aware works in otaku media. Vaguely set after a catastrophe that collapsed both the planet’s ecology and human civilization as we knew it, an event that the series has no intention to explain, YKK stars android Alpha as she runs the desolate café that her long-gone master entrusted her with. Her episodic adventures are all about the appreciation of the moment, often with an emphasis on the evocative environments she casually comes across; after all, author Hitoshi Ashinano was inspired to pen this work by his fondness of taking a stroll or riding a motorcycle without a specific goal. Despite being an ode to spontaneity, YKK is also a thoroughly focused work—and the recipient of that focus is the passage of time, as well as how different beings process the ephemerality of things.

The manga is beautiful, and highly influential in establishing a certain genre of gentle post-apocalyptic works like Girl's Last Tour. But tonight we're here to see the OVAs, each of them just an hour, pulling out a selection of favourite episodes from the manga.

These two adaptations, despite coming just a few years apart, come at a point of major historical change: the first part is in the cel era, the second in digital.

For the first, we have director Takashi Anno, veteran of The Hakkenden (AN122) and magical girl anime such as Magical Emi. His characteristic direction style puts a huge emphasis on setting and atmosphere, lingering on quiet moments - something he truly ironed out in Semishigure, which returns to the protagonist of Magical Emi years after the events of the story. Which made him a perfect fit for Yokohama. kVin is full of praise for the colour design, the strength of the layouts, and especially the soundtrack.

The second OVA Quiet Country Café dir. Tomomi Mochizuki takes a radically different approach, skipping forward in the manga and introducing a boldly experimental style:

Though its color design can’t match the exquisite work of the preceding series, it makes up for it with the radically distinct art direction by the late legend Shichiro Kobayashi—best known for the likes of Utena, Gamba, Ashita no Joe 2, Castle of Cagliostro, Beautiful Dreamers, Windy Tales, and unarguably being one of the most important figures in the history of stylized Japanese animation. In contrast to the grounded scenery of the first OVA, Kobayashi’s evokes reality with stark forms, implications of movement, and downright expressionistic paintings. Compared to the gentle embrace of the first series, his work feels like it’s demanding your attention in a more proactive way.

kVin describes the second episode's direction as characterised by more active and layered camerawork and a more 'involved' score - he's particularly taken with the sequence where Alpha returns to her café after the devastating storm that sets the OVA going. He compares it to Mochizuki's direction of the Ghibli film Ocean Waves.

So two approaches to the same material, two different vibes, but it sounds like both should be very strong. Tonight the plan is simple enough: we'll watch both OVAs back to back! (Apologies for the late start, as mentioned I've been having tech problems.)

AN 163 will be going live shortly at twitch.tv/canmom. Both OVAs are pretty short so we'll be watching from about 11pm to 1am UK time. love to see you there nya~

[a-flickering-soul]

How I Stopped Worrying And Learned To Love Bones: The Harrow Cosplay

Or: I felt like doing a little writeup of the making of my Harrowhark Nonagesimus cosplay because I worked hard on it and this is also basically the first cosplay I actually completed. And I'm also just very proud of it.

I knew from the start I wanted the silhouette to essentially be a triangle, since I deeply believe that Harrow in full vestments is like a little walking cone. This is also deeply influenced by the many years I spent in church choir wearing those dinky little robes.

The first thing I figured out was the headpiece. I knew I wanted the hair to be covered (both in a religious way and also so I wouldn't have to wear a wig), but when it comes to hair coverings, there's a lot of ways it could go. I initially considered mantillas, to go with the whole Catholicism of it all, but unfortunately I was possessed with the spirit of half my ancestors and decided to drape a scarf like a dupatta (I considered making maang tikka to go with it, but had a hard time with the logistics of that). I found a drapy, thin black scarf at a thrift store and held onto it for a while. You can tell from the picture that it's pretty sheer and also a good length.

I szuszed it up by hand-stitching some white lace to it (since I'm very taken with the idea of the Ninth producing lace like all good nunneries did), as well as some seashell beads in a suitable bonelike color and these very cool tiny silver skull beads. These are only on the front of my scarf as a nice little decoration.

For the rest of the jewelry, Sculpey really came through. I used it to make some (outsized) teeth to create a rosary, along with some very cool volcanic rock beads. Individually knotting each bead and tooth was a huge time sink, but definitely worth it visually. Nine teeth for each of the houses.

I also made some bone bangles out of Sculpey (although this was towards the end of things when I was kind of losing steam).

My metamour @benthicbimbo was fucking amazing though and literally?? made thee most beautiful phalanges choker out of Sculpey and velvet ribbon and they're weathered and textured so beautifully and it's such a wonderful piece I genuinely wear it around places quite often.

And because they're incredible they also made these beautiful faux earrings for me that I tragically forgot to wear during Halloween but do look genuinely stunning!!! Like what!!!!!

For the big layers, I genuinely got the best luck at Goodwill in one fell swoop and I have no idea how I got this lucky. The dress is Shein (and once you touch it that fact is very obvious) and the overcoat is a CQ by CQ trench coat someone didn't want anymore (sans belt). These combined with the dupatta really solidified the silhouette and both the pattern of the dress and the brocade on the overcoat really were exactly what I was looking for and it was a sheer stroke of luck that I found both of them in one go.

And now, the big boy: the ribcage corset. I wrestled with this thing for what felt like ages and I'm decently pleased with it, but I definitely have plans for improvement. I started off with a wire frame just to see what kind of shape I wanted-- I took inspiration from the book cover, but slutted it up a little with the titty cups because I felt like having fun. This was made with floral wire and duct tape.

Once I had it to a point where it was reasonably symmetric and fit to my body, I added a very thin layer of quilt batting. The goal of this step was to add bulk without weight or necessarily a gajillion layers of plaster or paper mache. As a friend of mine described it, it looked like low-poly gore.

From here, I added two layers of paper mache since I really wanted it to be rigid-- I did not want this to flex with me as I moved or really flex at all. I wanted to really sell that this was made of bone.

It was at this point I realized I fucked up enormously because the bottom was very asymmetric and I never did a final fit to myself, but it turned out okay anyways, especially combined with the overcoat. I slapped a few layers of acrylic paint over it and used a black ribbon to just tie it around my back-- it was going to be covered by the overcoat anyways so I didn't think too hard about that part.

And that's pretty much it! The black leather gloves are my usual winter gear, and the shoes are my everyday officewear black heels. The face paint design was a mix of the book cover, some fanart I'd seen, and some mockups a friend of mine made for me.

Overall, I had a ton of fun putting together what I feel like is my first con-worthy cosplay, and it was a massive upgrade from last year's cosplay. I'm not 100% satisfied with the ribcage-- I believe I can do better-- but this method was pretty solid (I'd recommend overestimating spaces between ribs though when making the frame). The face paint also wasn't my best work-- thick cream paint is a huge bitch to work with and I didn't have any brushes, but it got the point across. Either way, this cosplay was enormously fun to put together, actually quite comfortable to wear and move around in, and very satisfying to look at. As a reward or perhaps punishment for reading this far, a mandatory couples' cosplay with my beloathed Gideon (my dear @laserlesbians). Happy belated boneday!