#theme: capitalism

[alethianightsong]

"I miss when movies weren't political-"

ALIEN is about a megacorporation coercing some salvagers into transporting a dangerous creature without telling them what it is, all because the creature could be a great bioweapon for them. When a survivor of this failed transport mission wants reparations, they screw her over to avoid a scandal.

ROBOCOP is about another mega-corporation experimenting with a cop's body and declaring him their property, trying to reduce him to an obedient killing machine who can maintain the status quo for them.

JURASSIC PARK is about a rich billionaire going all out to make a dinosaur-themed amusement park, not caring about the real-world implications of resurrecting giant lizards. He also underpays ONE guy to maintain the entire park's security systems so predictably, that one guy betrays him at a crucial moment.

The best movies weave their politics with plot & character, so you can enjoy them as entertainment but can also notice the themes. Movies without themes wind up being all spectacle and no substance, just noise and color like Michael Bay's Transformers franchise. Yeah, they make money, but they'll be forgotten in 2 generations.

[donttellunclesam]

don't expect hawkins's biggest loverboys to work on valentine's day 🙄

(another holiday pfp)

[lucidloving]

Gwen Benaway, Holy Wild // Clarice Lispector, "The Burned Sinner and the Harmonious Angels" // Warsan Shire // Chelsea Hodson, Tonight I'm Someone Else // Anne Sexton, "The Double Image"

[starscreamingg]

Okay I'm so sleep deprived so pardon whatever this is but something that's got me FUCKED up about ai generated pictures songs writing is that it just fucking kills the ability to analyse for me because there's no fucking INTENTION behind it. Like why was this decision made why were these colours used what does that say about the work NOTHING because a bunch of programming took work that DID have intent and theme and purposeful choices and turned it into SLOP. Like I COULD analyse this but it doesn't MEAN anything it's EMPTY I want to EXPLODEEE

[permian-tropos]

is the mouthwashing fandom ready for these piping hot fucking takes

some points of clarification:

the horse can both be anya and the baby. I definitely do think it's also the baby. but a horse baby would have a horse mother

I wrote this stuff before seeing the end of the game while knowing plot points of how it ended. I've seen the end of the game now

I could add some stuff about swansea's ending speech about how trying to be a good member of capitalist society was ultimately worse than being an alcoholic but that's a whole other can of worms

@excalibutt has been wanting to portray more of anya's side of things with her role as nurse being akin to HR but that might come later

[amphibianaday]

day 1398

[icewindandboringhorror]

Little bright colored outfit with a fun vest ~

(shoes from ebay like 10 years ago. everything else is thrifted)

[stardustedknuckles]

It's looking like there's a growing divide between Campaign watchers and Tlovm watchers in terms of like. We're here for the characters. 12-episode seasons aren't. They can't be. I'm already making peace with everything we'll lose in the Mighty Nein show, and I know I will enjoy it for what it is but I also know that almost nothing that made the story so special will translate to the screen, because turning it into a show automatically means (in this day and age) that plot must be the number one priority. They've already come out and told us it's going to be different, the characters we know and love but new stories.

Because that's how this has to work. And I feel bad for campaign one lovers, because while it is certainly the easier of the two to translate to a big, overarching story, even though it's a more "traditional" high fantasy story with easier archetypal characters, the archetypes and the plot aren't what cemented most people's love for the campaign. So much of the love for critical role is stored in the interpersonal dynamics and the payoff that comes from hundreds of hours of tiny interactions that one day become cornerstones of development and even affect or dictate the plot.

There's no room for that. There's no room for Bard's Lament in a story that cannot afford to remove and replace a main character. A lot of tlovm is for people who have been here for all of campaign one. Most of it, however, isn't. It's for a new crowd. While CR may have creative control, you can bet your ass that there were months and years devoted to figuring out how to map a character-focused love of the show into a plot that hits the right beats to be viable in the show market.

And it worked. Tlovm has consistently high viewing numbers, and its popularity has brought and will continue to bring new people into the universe who have never interacted with CR previously. That's not a bad thing - imagine finishing your favorite show and discovering it has another FIVE HUNDRED HOURS of the equivalent of behind the scenes content. That's incredible for these newcomers. But man, it is in many ways a loss for us.

[r0bzombixx]

she got away.

[puckpocketed]

19/10/2024 - WSH @ NJD

seriously?

[nando161mando]

dude yess???!!

[elbiotipo]

I guess that if you haven't ever read or watched something that criticizes capitalism or imperialism, even the most basic criticism shocks you.

[katabay]

original thief series basso & garrett :)

ngl, it's about quality over quantity for me. an npc can have a total of three minutes of screen time, but if they have a cool name, they can live rent free in my head and I'll spend several hours trying to decipher drawable features from a blurry screenshot of pixels

there is a vague hint of a story here, and that's because every time I try to play thi4f, I get incredibly frustrated with how Not Fun the game play is. like, is the story good? well. but it has a PLAGUE. that should've given it instant 'I'll replay this once a year' status in my heart, but the game play sucks so bad that I've never finished it. I can't believe Not Fun gameplay beat out my obsession with narrative plagues.

anyway, the idea is basically if the original era had a game with a plague centric narrative and some other stuff I liked out of thi4f thrown into a narrative blender, with a heavy dash of horror thrown in because some parts of the thief games were scarier to me than entire dedicated horror genre games.

⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app

[horrorknife]

it’s so funny that anya and daisuke are always drawn together n ppl act like they’re close cuz thru the course of the game almost every time there’s any Group Discourse jimmy is the one who sides with anya against swansea and daisuke. anya and daisuke’s relationship is mostly nonexistent but we do see her and jimmy being mostly very cordial with each other. idk. i’ve been thinking abt it a lot cuz i’ve just been replaying and rewatching and trying to pin things down for myself. it’s a little disheartening tbh that all of these characters are constantly mischaracterized by the loudest people in the fandom cuz it’s creating this whole society of people who played a different mouthwashing than the one i did. and whats REALLY so fuckin funny abt all this is that more ppl are shipping jimcurly and apparently THAT’S where all of the “media literacy” problems are coming from. like, no, i understood all the beats of the game just fine and i love all of it. i just also wanna see two guys who suck for each other fuck about it

[jerreeeeeee]

no villain speech has ever stuck with me like robert moses’ short manifesto from his conversation with kingston. people think they make choices. they think they’re gonna steer left, or steer right. but they didn’t build the roads. the big choices already got made for them, a long time ago.

because he’s RIGHT. not about his takeaway, obviously, which is just “and that’s how it should be.” but the statement itself is true. they DIDN’T build the roads. people are told over and over that because they “make choices” the outcomes of those choices are their responsibility, and that it’s freedom, even. they think they’re gonna choose to steer left, and then they crash. they choose which auto insurance they have. they choose what new car to buy. and that’s freedom. but they didn’t choose to be required to drive a dangerous vehicle an hour away to work their life away at a job they don’t care about just to keep themselves alive. they can only live their lives in a narrow framework, a structure sustained by a threat of imprisonment and violence. they didn’t build the system. they didn’t build the country, or even the concept of a country. they didn’t build the laws, they didn’t build the city, and they sure as hell didn’t build the roads.

[lily-on-the-fence]

Ahhh the Human Domestication Guide might be taking over my life >w<

I read the original and then started reading Dog of War yesterday and spent nearly the whole day readingg :3 Honestly it's so good and sweet and has just a liiiitle~ bit of tension to keep things fresh.

God it's such a dream of a setting I can't wait to sink my teeth into it and maybe write a little something or other!