#someone play hozier

[pantheshroom]

While I think that Airaphale and Crowley’s love for one another is just as undeniable without it being physically expressed, I also think that the kiss was so important in that moment in particular, because it was Crowley attempt at appealing to Aziraphale’s love for humanity as much as it was appealing to his love for Crowley.

They have grown so much together, bonded by their shared love of the things they’ve learned about earth and humans. Yes, their love exists outside of human romantic convention. But Crowley needed to remind Aziraphale where it came from nonetheless.

He was saying stay with me. Stay with humanity. See what we love about them. See how they love each other.

You can see Aziraphale realise it as they step apart. You can see him realise how much he’s going to miss it all. But he’s already made his decision.

(I know this is probably already widely understood in the fandom but I needed to get it all out)

[lifemod17]

Hozier played Someone New last night via a fan's sign 'pick a number' and the band smashed it even if they had not played it in over a year NOBODY HMU!!!

Also shoutout to Kamilah who had never rehearsed it (since she only joined this year) but still killed it on the vocals!!!

🎥: pressedpapershop | tiktok

Kia Forum night 3 || 09/20/2024

@deprivedmusicaljunkie

[shortqueershakespeare]

Makes me irrationally mad when people hate on To Noise Making (Sing) like someone on Reddit said they thought it was an outright bad song and they couldn’t believe Hozier wrote it like EXCUSE ME ITS A MASTERPIECE

[deprivedmusicaljunkie]

is somebody gonna match my freak (be in the top 0.005% for hozier)

[rosehagikure]

Just three awkward, lovable, bearded nerds going through their own midlife crisis💖

My sources say they're the same person. And I stand by them🧐👆

Harvey (SDV), Gale (BG3), and Raj (Coral Island) aka the love of my life.

[man-i-love-folklore]

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HE PULLED UP AND HE LOOKS SO FINE OMLLLLLLL

the hair half up half down? are you trying to kill me Andrew?

[gayeddiejuice]

i fucking LOVE being bisexual everyone is SO HOT and i fall in love EVERY DAY

[lizziee-black]

Ok so hear me out

The song someone new by Hozier reminds me of Mike Ross from suits

Here are my reasons why

‘Don't take this the wrong way. You knew who I was with every step that I ran to you’

Harvey knows Mike inside and outside and knows how he would react to everything. Mike always wants to tell him everything but he doesn’t always, as he wants Harvey to see him as competent (which let’s be honest he does) or Mike thinks that Harvey won’t want to hear about everything in his life (like Harvey wouldn’t listen to Mike talk for hours the guy is in looove)

‘Would things be easier if there was a right way?Honey, there is no right way’

Him just trying to do the right thing the best he can and it backfiring on him.

Like that time Jessica threatened Mike and he did tell Harvey, then Harvey was mad about.

The guilt about the fact that he doesn’t have a degree and knowing if he is discovered all the people he helped and cases he did will be reviewed, but still wanting to continue because he loved his job his dream job since his parents died.That time he prioritized work over visiting his grammy then she died the next day.

‘so I fall in love just a little, oh a little bit every day with someone new’

Just mike caring so much about pro bono cases and being so invested in every case and empathize with his clients and encouraging them to settle from more money when he thinks the other party has done them wrong.

‘There's an art to life's distractions. To somehow escape the burning weight, the art of scraping through’

Mike drinking in bars with Trevor, smoking and going to trivia nights, just him being a bike messenger and scraping through and knowing he is smarter than most of the lawyers at the law firm/clinic he delivered packages to and knowing he wasted his potential but just distracting himself from all that.

‘The dark caress of someone else’

Personally I associate this part with Harvey but I am a marvey shipper soo.

‘I guess any thrill will do’

Like his smoking weed, that one time he tried to sell it ( I know it was to get money for his grammy but you can’t convince me it wasn’t also just a little bit for the trill) , selling test scores, agreeing to be an associate at a law firm without a degree, all the semi-legal stuff he and Harvey did, plus like the trill I am sure he got that like yea I can pull off all those things cuz I am smarter than you (cause mike is cocky).

‘I wake at the first cringe of morning And my heart's already sinned’

Him waking up knowing he is going to the job he loves that he is doing illegally but he can help it or stop himself because he needs the money and also because it has been his dream job since his parents died and him also know him doing his dream job is putting people he loves at risk Harvey, Donna, Rachel even Louis and Jessica basically anyone who knows his secret.

‘How pure how sweet a love, Aretha, that you would pray for him’

Donna and Harvey call him puppy I think he is pure and sweet at heart.

‘I fall in love just a little, oh a little bit every day Love with every stranger, the stranger the better’

Every day he gets to work on a case he pours his heart into it and I think when you care and pour you heart into something you love it even if it’s just a little.

I know Hozier didn’t mean the song that way but I think the song applies to Mike if you think about the way I have

I have only seen the first couple of seasons of suits if you can tell

[northern-passage]

i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.

...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?

[...]

Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.

Most games either:

allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.

immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.

But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:

Why don’t the police investigate the murder at a later date and track down the player then?

Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?

Why doesn’t the victim’s son grow up to become Batman?

We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”

Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?

This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)

These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)

Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.

[...]

Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.

You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?

Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.

When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”

[...]

In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.

But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)

[...]

It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]

Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.

[uselessmoth]

Experienced Hozier live last night and I now can understand why people worship a god

[caleenbix]

i like how the young indiana jones chronicles are comprised of indy just doing the strangest side quests while meeting major historical figures. like what do you mean he traded some of his baseball cards to tolstoy? what do you MEAN one of his central questions growing up was about what love is and he asks sigmund fucking freud about it? WHAT DO YOU MEAN HIS FIRST CRUSH WAS ON FRANZ FERDINAND’S DAUGHTER?

[siobhanmull]

it turns out that the secret to motivating myself to practice the guitar (a skill i have been meaning to learn for 20 years) is to embrace my patented Don't Start With the Thing Everyone Says Is For Beginners method. because i get bored very easily, so I Have to start with something that is ostensibly too challenging and just do it slowly/badly/joyfully/et cetera. (for example, i got really into baking because i wanted to learn to make macarons despite have not baked anything since i was a toddler with an easy bake oven. i have made several imperfect batches of macarons, including one that took six hours & was then completely inedible because i undercooked them & didn't realize until trying to remove them from the baking mat.)

ANYWAY. i am now very happily learning a bunch of fingerpicking tabs. so i've got 2/3rds of the last of us theme & all but the outro of Like Real People Do sounding fairly solid. i have started making my way very slowly through the joan baez versions of It Ain't Me Babe and Don't Think Twice It's All Right, and i am having the time of my life

[lifemod17]

"I love you too, don't you ever forget that"

🎥: thisphantomlife | x

Riverstage, Brisbane || 11/18/2024

[ao3-shenanigans]

Doing that thing again where I’m so excited about something it makes me feel anxious and sick

[rosehagikure]

If you know, you know. Quick wip before adding colors.

[bogboyfig]

The transition from De Selby 1 into 2 goes HARD by the way