#we were talking about books

[quibbs126]

The good thing about having a new roommate is that I can spend an hour explaining the lore of whatever my hyperfixation is

This time it was Berserk

[frm9pm]

My wife and I were walking around the city and when we saw a dumbledore poster we immediately turned to each other and made this hand gesture LOL

[ryllen]

OH NO CRINGEEEEE!!!!!!!!!!!!!!

.

[egophiliac]

I want your opinion on something. Do you think it's better to try and the the cards of the character you like or skipping some to brench out? Like, say you're a fan of Leona. Should you try to get all of his bday card and stuff or stick to one and get other characters ssr?

personally, as much as I would like every single card...I gotta ration my keys, so I focus on my favorites!

which isn't to say that I only pull for certain characters no matter what! more that I take a good long look at every card that comes out and go "do I really want this one? like...really really want it?" (the answer is usually yes, but -- look, the art in this game is very pretty, okay)

honestly, from a gameplay standpoint, I think it doesn't matter too much whether you focus on pulling for specific characters or not. there are very, very few points where actually having a good mix of characters is important (Those Two Stages in episode 6, where I think you can use retry tickets for the easy mode? and also guest room battles if you care about those) and you'll probably end up with at least one halfway decent card per character just from doing 10-pulls and events. so even if you're only pulling for Leona cards, you'll still end up getting a bajillion other characters as well. follow your heart! chase that grumpy lion bliss! ✨🦁✨

[coquelicoq]

[ID: Panels from chapter 101 of the Natsume's Book of Friends manga. Natsume thanks Natori and Matoba for coming to rescue him and Nyanko-sensei. Natori's serious but unsurprised expression remains unchanged over three panels. Matoba's lips are slightly parted, and in the second panel he says, "Huh…?" /end ID]

the contrast in reactions between natori and matoba...matoba and his little taken aback "what the hell am i supposed to do with this bid for human connection" face that i hold so dear. idk what's going on with natori exactly but my guess is he's just. really scared for natsume. he must have been, to have gone to get matoba. natsume doesn't get natori's affectionately indulgent look until after the danger has passed. natori's gotta get his game face on.

[the-final-sif]

I need to hop back into my transformers bullshit for just a moment because I don't think they've had much interaction in canon, but I think it'd be really really funny if Tarn was actually terrified of Starscream.

Like, I dunno if MTMTE/IDW canon has confirmed Starscream's immortal spark for that particular series, but I'm going to assume it carries over. If so, it'd make Tarn's power basically useless against him.

In my ideal headcanon, Tarn got sick of Starscream's shit at some point and went against Megatron to try to murder him. He tried to do this subtly using his voice only for it to 100% not work even a little bit. He would've had this whole build up where he got Starscream alone and was attempting to be a dramatic bitch about the whole thing and build up to the murder and then-

And then it just doesn't work and there's a really awkward pause where Starscream is looking around kind of expecting something to happen when literally nothing does. Tarn is trying to keep a normal conversation going now while also attempting the murder again and again just for it to literally do nothing. Eventually Starscream gets sick of him being weird and walks out judging the guy.

It'd be so fucking funny particularly because Starscream having an immortal spark is generally totally unknown, so Tarn would have to assume that Starscream had found some way to render his ability useless, which is terrifying. Tarn is now extremely worried that Starscream somehow had a spy and found out what he was planning to do ahead of time. He might've even been able to get something into Tarn's head somehow to know his plan this well. Clearly that level of genius must be part of why Megatron keeps him around. Tarn was a fool for having attempted to disobey, and Starscream was clearly not a problem he could solve like this. What if Starscream reports this clear disobedience to Megatron? Tarn just tried and failed to kill the second in command! Starscream would have every right to demand his execution if he so desired, or save this as blackmail!

Tarn is just out of his mind spinning conspiracy theories and getting super high levels of paranoia about Starscream. Just doing whatever he can to not have to be in the same place as the guy. He runs under the assumption he's being blackmailed by Starscream for his attempt and does what he can to not cross the seeker.

Meanwhile from Starscream's perspective, Tarn showed up and had a very weird conversation where he kept raising his voice at random times and then nothing happened. Then the guy freaked out and got even more weird about it. He has no idea why this happened. He has no idea that Tarn is hiding from him. He thought it was weird and stopped thinking about it after a few days. Starscream's minding his own business and mostly forgot about this entire thing after two weeks meanwhile Tarn is having a mental breakdown about it for years.

[dimonds456]

Okay but if Bill actually did steal Ford's eyes, do you know what that would mean??

Cuz the ONLY thing keeping Bill out of the basement- thus away from the portal- were retinal scanners, which would only work if Ford was himself. If his eyes were slits (thus Bill was possessing him) the door would not open.

So that's genius, right? Boom. Now even if Bill possesses Ford, Bill will never get into the basement! Hah!

But uhh. If the Eye Stealer takes Ford's eyes, that isn't a problem anymore, is it? Cuz they could just use those eyes, which would be stuck with Ford's original retinas, and open the door THAT way

And what would Ford have been able to do to stop them? Even IF he had sight, his body was so broken and battered and tired by that point that if he went up against a monster, he wouldn't stand a chance.

Not only that, but if Ford were to get possessed again, no one would be able to tell. Ignoring the behavioral differences, from a visual aspect, they look EXACTLY the same. The ONE TELL that Bill is possessing someone is just GONE.

The only thing Bill would loose in this situation is sight himself, IF he ever possessed Ford again. But that'd probably be worth it considered there is NOTHING BUT GAINS otherwise. That, and he wouldn't have much of a reason to anymore aside from psychological torture to either Ford himself or the people around him.

Like. That's terrifying.

No wonder Ford was so goddamn afraid. If the Eye Stealer was successful, there would be no way to stop Bill. That, and Ford would be blinded for life, and possibly killed, because there's no way Bill would treat his injuries after that, right?

He wasn't just backed into a corner here; he was actively being pushed into it.

[fatehbaz]

About the entanglement of "science" and Empire. About geographic imaginaries. About how Empire appeals to and encourages children to participate in these scripts.

Was checking out this recent thing, from scavengedluxury's beloved series of posts looking at the archive of the Budapest Municipal Photography Company.

The caption reads: "Toys and board games, 1940."

And I think the text on the game-box in the back says something like "the whole world is yours", maybe?

(The use of appeals to science/progress in imperial narratives probably already well-known to many, especially for those familiar with Victorian era, Edwardian era, Gilded Age, early twentieth century, etc., in US and Europe.)

And was struck, because I had also recently gone looking through nemfrog's posts about the often-strange imagery of children's material in late nineteenth- and early twentieth-century US/Europe. And was disturbed/intrigued by this thing:

Caption here reads: "Game Board. Walter Mittelholzer's flight over Africa. [...] 1931. Commemorative game board map of Africa for a promotional game published for the N*stle Company, for tracking the trip of Walter Mittelholzer across Africa, the first pilot to fly a north-south route."

Hmm.

"Africa is for your consumption and pleasure! A special game celebrating German achievement, brought to you by the N*stle Company!"

1930s-era German national aspirations in Africa. A company which, in the preceding decade, had shifted focus to expand its cacao production (which would be dependent on tropical plantations). Adventure, excitement, knowledge, science, engineering prowess, etc. For kids!

Another, from a couple decades earlier, this time British.

Caption reads: "The "World's globe circler." A game board based on Nellie Bly's travels. 1890." At center, a trumpet, and a proclamation: "ALL RECORDS BROKEN".

Same year that the United States "closed the frontier" and conquered "the Wild West" (the massacre at Wounded Knee happened in December 1890). A couple years later, the US annexed Hawai'i; by decade's end, the US military was in both Cuba and the Philippines. The Scramble for Africa was taking place. At the time, Britain especially already had a culture of "travel writing" or "travel fiction" or whatever we want to call it, wherein domestic residents of the metropole back home could read about travel, tourism, expeditions, adventures, etc. on the peripheries of the Empire. Concurrent with the advent of popular novels, magazines, mass-market print media, etc. Intrepid explorers rescuing Indigenous peoples from their own backwardness. Many tales of exotic allure set in South Asia. Heroic white hunters taking down scary tigers. Elegant Englishwomen sipping tea in the shade of an umbrella, giggling at the elephants, the local customs, the strange sights. Orientalism, tropicality, othering.

I'd lately been looking at a lot of work on race/racism and imperative-of-empire in British scientific and pop-sci literature, especially involving South and Southeast Asia. (From scholars like Varun Sharma, Rohan Deb Roy, Ezra Rashkow, Jonathan Saha, Pratik Chakrabarti.) But I'd also lately been looking at Mashid Mayar's work, which I think closely suits this kinda thing with the board games. Some of her publications:

"From Tools to Toys: American Dissected Maps and Geographic Knowledge at the Turn of the Twentieth Century". In: Knowledge Landscapes North America, edited by Kloeckner et al., 2016.

"What on Earth! Slated Globes, School Geography and Imperial Pedagogy". European Journal of American Studies 16, number 3, Summer 2020.

Citizens and Rulers of the World: The American Child and the Cartographic Pedagogies of Empire, 2022.

Discussing her book, Mayar was interviewed by LA Review of Books in 2022. She says:

[Quote.] Growing up at the turn of the 20th century, for many American children, also meant learning to view the world through the lens of "home geography." [...] [T]hey inevitably responded to the transnational whims of an empire that had stretched its dominion across the globe [recent forays into Panama, Cuba, Hawai'i, the Philippines] [...]. [W]hite, well-to-do, literate American children [...] learned how to identify and imagine “homes” on the map of the world. [...] [T]he cognitive maps children developed, to which we have access through the scant archival records they left behind (i.e., geographical puzzles they designed and printed in juvenile periodicals) [...] mixed nativism and the logic of colonization with playful, appropriative scalar confusion, and an intimate, often unquestioned sense of belonging to the global expanse of an empire [...]. Dissected maps - that is, maps mounted on cardboard or wood and then cut into smaller pieces that children were to put back together - are a generative example of the ways imperial pedagogy [...] found its place outside formal education, in children's lives outside the classroom. [...] [W]ell before having been adopted as playthings in the United States, dissected maps had been designed to entertain and teach the children of King George III about the global spatial affairs of the British Empire. […] [J]uvenile periodicals of the time printed child-made geographical puzzles [...]. [I]t was their assumption that "(un)charted," non-American spaces (both inside and outside the national borders) sought legibility as potential homes, [...] and that, if they did not do so, they were bound to recede into ruin/"savagery," meaning that it would become the colonizers' responsibility/burden to "restore" them [...]. [E]mpires learn from and owe to childhood in their attempts at survival and growth over generations [...]. [These] "multigenerational power constellations" [...] survived, by making accessible pedagogical scripts that children of the white and wealthy could learn from and appropriate as times changed [...]. [End quote.] Source: Words of Mashid Mayar, as transcribed in an interviewed conducted and published by M. Buna. "Children's Maps of the American Empire: A Conversation with Mashid Mayar". LA Review of Books. 11 July 2022.

Some other stuff I was recently looking at, specifically about European (especially German) geographic imaginaries of globe-as-playground:

The Play World: Toys, Texts, and the Transatlantic German Childhood (Patricia Anne Simpson, 2020) /// "19th-Century Board Game Offers a Tour of the German Colonies" (Sarah Zabrodski, 2016) /// Advertising Empire: Race and Visual Culture in Imperial Germany (David Ciarlo, 2011) /// Learning Empire: Globalization and the German Quest for World Status, 1875-1919 (Erik Grimmer-Solem, 2019) /// “Ruling Africa: Science as Sovereignty in the German Colonial Empire and Its Aftermath” (Andrew Zimmerman. In: German Colonialism in a Global Age, 2014) /// "Exotic Education: Writing Empire for German Boys and Girls, 1884-1914". (Jeffrey Bowersox. In: German Colonialism and National Identity, 2017) /// Raising Germans in the Age of Empire: Youth and Colonial Culture, 1871-1914 (Jeff Bowersox, 2013) /// "[Translation:] (Educating Modernism: A Trade-Specific Portrait of the German Toy Industry in the Developing Mass-Market Society)" (Heike Hoffmann, PhD dissertation, Tubingen, 2000) /// Home and Harem: Nature, Gender, Empire, and the Cultures of Travel (Inderpal Grewal, 1996) /// "'Le rix d'Indochine' at the French Table: Representation of Food, Race and the Vietnamese in a Colonial-Era Board Game" (Elizabeth Collins, 2021) /// "The Beast in a Box: Playing with Empire in Early Nineteenth-Century Britain" (Romita Ray, 2006) /// Playing Oppression: The Legacy of Conquest and Empire in Colonialist Board Games (Mary Flanagan and Mikael Jakobsson, 2023)

[kateksmallcuteowl]

Thanks @helenvader for reminding me about this scene in men at arms. Needed to reread a book before I’ve drawn this, but finally it’s ready;)

Unexpectedly Havelock has a new robe-design here. Lol.

P.S. First time I did something on Discworld that is apparently NOT VetVimes content 😅 Hope you like it)

[lonestardust]

"Kiddos" : Big brother & Little brother 🥹

[delicate-sketch]

I just want to say that i did not vibe with tsats and thats fine i am not the devil for this there is another pjo books that i dont vibe with too i like solangelo i like will solace and nico di angelo i just didnt like the writing and the story I did not have a good time and thats fine i am happy that other ppl have a good time i can see how this book can be positive for queer kids nothing is black and white there is positive and negative cool cool

[chaoticstabby]

The wildest experience of recommending Gideon the Ninth to someone was my friend who, after reading up to the second trial, casually said "yeah, one of my theories is that the trials are preparing the necromancer to absorb the cavalier's soul". With four people having read the whole series so far in the zoom, the amount of self control it took to keep our faces neutral.......

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[egophiliac]

Waittt, what did you mean with your last post?? I don't want to spoil myself so I'm waiting for the nightmare before christmas event to arrive on the eng server before diving deep into the wiki. But I HAVE to know; were there hints of Lilia joining in for a rerun or a sequel ??? Your big "OR IS IT???" filled me with way too much hope !! please tell me it wasn't a bit : (

there was a little teaser at the end that implied there'll be a sequel event, though we don't really know anything beyond that! I do think it's likely we'll get the other half of the cast in it, even if it's just wishful thinking on my part. 🤞🤞 NIGHTMARE SUITS FOR EVERYONE!!!!

as far as I know there's been no confirmation on whether it's going to be next year's Halloween event or a separate thing (the snow makes me think it'll be more Christmas-themed, or otherwise more related to the plot of the original movie) so. we're probably going to have to wait quite a while before we find out anything solid. :') they really do love just dropping these things on us and then watching us go absolutely wild with speculation while they watch like

[coquelicoq]

the best reason to socialize is so that you will have stories to tell other people while you're socializing with them. it's a racket. a pyramid scheme. it's all built on air

[ganondoodle]

kind of expected that the ability breakdown wouldnt get that much traction (especially on twitter bc if it doesnt do well in the first few hours it might as well be dead) but what i didnt need to wake up to was looking at my twitter notifications and thinking there was a long comment on it at first but then i read it and it turned out to be some guy having dug up one of my old totk tweets where i talked about how zelda was treated-

and if a quote retweet with a thread attached already starts with "this entitled brat didnt understand that zelda was being a history nerd by being in the past and getting to experience it herself" with two screenshots attached of the end of totk with zelda staring at the cam all uwu (which has ??? to do with their point??) i dont even want to know what else was in that thread

if thats how the majority of the fandom is then im even less surprised that nintendy doesnt even have to try to write anything good :I

ah yes, i am a game nerd, and by putting me in a game where i stand around doing puppy dog eyes while being shoved around by NPCs is me being a game nerd OBVIOSULY