#that's why they're so specific

[unnamed-atlas]

I would ask why he said this but honest to God I stopped asking why schlatt says anything several years ago

[zuzu-draws]

Trolling aside, i think there is some great importance as to why Gege chose this specific manner of panelling for the Yuji-Sukuna confrontation in JJK 264. We can't help but think that Gege's trying to show us some sort of a parallel between Gojo and Sukuna in this situation.

In JJK, there's this interesting notion of one's decision to go "North" or "South" as explained by Nanami during Gojo's death Flashback:

And we all know, that chapter of Gojo's death is titled as "Go South", which highly implies that Gojo chose to stay as who he was, as opposed to starting as something completely anew.

Now the interesting point in the Yuuji-Sukuna confrontation is that apparently...

....the destination for the supposed train within Yuuji's domain...is "North".

Which means that Yuuji's taking Sukuna towards the North.......

They're heading towards the North.....do you guys understand what that means?? For BOTH of them??? Q C Q

[stewykablooey]

funniest thing about stewy is that he’s a fucking anomaly in the roys social circle because not a single person in that family has any fucking friends. they genuinely only fraternize with family or waystar employees and then here comes stewy. the prodigal sons third-oldest friend best friend childhood friend. and guess what. he’s here to cause problems on purpose.

[bookrat]

End-of-month sale post~

Velociraptor: $2500

All the rest: $270

Message me directly if you're interested in one~

[screwpinecaprice]

nasty

[michajawkan]

encounter design is an interesting subject bc while I do enjoy games where every fight is designed to be fought and cleared by the party, it's not the whole of what an encounter can be and it's a shame that so many people think that's the only option, like, for some even just stepping back as little as removing the concept of "every encounter must be winnable" is too much for them

Like, again, I like walking into every fight knowing I am intended to be able to clear it in games built in that manner, it's very fun to navigate a battle with the foreknowledge that it's possible for me to handle in some way or another, but this design also inherently removes a lot of the tension from the situation, which is fine for a heroic fantasy adventure, but less useful in, say, a survival horror campaign

and "should encounters be assumed to be winnable" is just a tiny part of encounter design, which itself is just one segment of a larger game, and it already has such a strong effect on how the game feels, imagine how much it'd change if you altered even more of your approach, or removed the concept of them entirely

The mechanics inform the feel of the story you're telling through the game and I think that's really cool, and I really love seeing how different games emulate their different priorities through the design of their systems and it's a shame to see so many people disinterested in this and think any system out there can or even should do literally everything equally well all at once

[casualavocados]

I want you to call me in person. I'll only meet with you. I'll only answer your phone calls. I only trust you.

Chen Yi, head of Yiyun Meng: North Hall, with Ai Di at his right hand KISEKI: DEAR TO ME (2023)

[until-another-one-comes]

I can't rewrite this season but if it was up to me, I'd still have the Umbrellas sacrificing themselves to save the timeline and at the end we see the Umbrellas still alive, but they're all living different lives and perhaps with varied ages to show that its not their existence that caused the timeline to get fucked up, but the marigold that started everything.

The Umbrellas were always meant to exist and live, but it was the marigold that caused the timeline getting muddled and disrupted their existence. Without it, the Umbrellas (and every other kids that were created by the marigold) were able to be born and live their lifes normally like they were always meant to.

Would it still have a lot of plotholes? Yes. Would it make sense? Perhaps not but at least its better than what they implied with the ending which is very upsetting and dangerous the longer you think about it.

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[sysig]

[bruciemilf]

Comic book writers who still make Bruce hit his kids even after years of mass criticism from fans who TELL you it's a bad creative choice that pushes them away from the fan base and comics in general,,, you did this for what?

[jonsnowunemploymentera]

I personally don’t mind the reveal that Aegon the Conqueror was motivated by dragon dreams about tptwp/war for the dawn; I actually like it quite a lot. Mostly because I like how Aegon’s legacy basically becomes: the unification of the realm and its peoples (a wholly positive thing) AND the iron throne (which has become a symbol of war and destruction). Aegon brought the realm together, but he also created that stupid pointy chair. The irony is that this chair, made of swords from all over the realm thus being a representation of all the different peoples in Aegon’s new kingdom, is meant to be the symbol of peace and unity. But in the current story, it’s become the driving force of disunity. And now hundreds of years later, now that the real threat that Aegon dreamed of has actually arrived, the realm is much too focused on who gets to sit on the silly chair more than anything else. Which imo would fall in quite nicely with GRRM’s deconstruction of prophecy, how people interpret it, and the ripple effects from those actions.

[lovetriangled]

i just know that charles and edwin have a comically large pile of notebooks that contain tallies of who has won and lost at clue

[sparring-spirals]

I was initially clipping this to capture the overwhelmingly accurate, absolutely devastating hilarity of "you went for realistic, and sadly, you nailed it". And then just kept recording because I really fucking love the discussion about how to balance the line between like:

You are trying to tell a story that feels good and gives you the kind of lift you might be looking for in an explicitly fantasy story,

vs

How to ensure it still feels grounded and rewarding in a way where you can "bring this good feeling back to earth" at the end.

Like they're talking about TTRPG's but they clearly make parallels to other forms of storytelling/worldbuilding mediums, like movies, and. like. Yeah. Yeah.

Like the framing of "you really recreated the feeling of powerlessness..." and wanting the fantasy element to manifest in there being the clearer, straightforward ways to solve complex issues, vs trying to ensure that you can have a victory and it feels feasible and substantial and applicable in some way, and has something you can take out of the fantasy world and hold with you back on "terra firma".

Its tricky! Its a tricky thing to balance, and I don't think there's a single "right" answer nor should there be because it depends. It depends on the story, and the intent, and the setting, and the medium, and etc. Big fan of this framework to explain it.

[screwpinecaprice]

For E350's patreon request: Connverse wedding!

Outfits based on this. Steven's skirt was drawn the way I did because trying to make it soft and ruffled like in the original got me confused.

[beanghostprincess]

Repeat it with me! "Nakedness and SA scenes aren't always fanservice and sometimes they're just things that happen in the story ESPECIALLY when the main character is a woman who's part of a very sexualized subculture! And they're not portrayed in a good light! And if you believe they should not exist because they make you uncomfortable perhaps you should leave the internet and touch some fucking grass!"