#when she never implied it was

[butchnavi]

am i letting my mother's biases cloud my opinion of this american uncle or is he actually kind of a shitty person pt 2743666887

[sporeclan]

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I mean... someone was gonna have to tell him SOMETIME, right?

[infinitelystrangemachinex]

massages forehead So Ambessa hid Mel away because she was a weapon in the literal sense, a mage. But Ambessa came to Piltover for Hextech? And Ambessa had nothing to say to Mel about her powers having visibly awakened? Even when Mel offered to go with Ambessa, giving her the ultimate opportunity to make Mel a weapon for real? And Ambessa made no attempt to find or retrieve Mel - not just her daughter and the remnants of the family Ambessa professes to love, but also her ultimate weapon - when she disappeared? And Ambessa trusted Singed and Viktor on their home turf - neither of them hiding how insane and self-serving they are with every reason to take over Ambessa's soldiers or just blatantly turn on her as soon as it benefits them - more than she trusted Mel? While Caitlyn (and by extension Piltover) was visibly and clearly falling away from Ambessa's teachings before Ambessa's eyes? (as if getting rid of certain people allows piltover to get rid of fascism but we won't get into All That)

Not only do I struggle to be hyped for Mel's powers beyond how amazing and beautiful she looks, but I can't help but feel like Mel is somehow less powerful in season 2 than she was in season 1, and not in an interesting way. As if Mel's ability to bend all of Piltover politics and economics to her will in season 1 now means nothing in season 2? You can argue that Jinx's attack led directly to Mel losing ground in Piltover - because I expected Mel to have to claw back that power without being able to rely on people who are too easily seduced by Ambessa and authoritarianism, and she would have to get creative to go toe to toe with her mother. I expected pushback to her mage identity that she would have to navigate. But instead this went either unwritten, or was ignored or discarded. Instead Mel is removed from the main plot, cutting her off from what made her the most interesting - only for all of Mel's very real talents, her very real powers and abilities, to be not only translated but REPLACED with magical powers she doesn't know how to control, and by the finale, those magic powers are the only powers that are considered real. Mel takes a backseat to Piltover's governing and decisions, a backseat to Jayce of all people who was not only new to politics mere months ago but made poor governing, strategic, and diplomatic decisions when he had that power. In season 1 Mel stayed off the "throne" but she did pull its strings one way or the other, and she makes no attempt at this in season 2

In my least generous suspicions, Mel was gentled and quieted to capitulate to an agenda for other characters who had to be correct and heroic - or wrong and villainous - no matter what the leadup narrative said, given her powers to help sell the game and set up future shows, and was effectively ejected from the Arcane story with faceless soldiers and a role she doesn't want because she was inconvenient there

[fishareglorious]

kakania numero uno reverse 1999 character on the fact she makes a dig on the sex life of the guy she was dueling with at the moment. while also somewhat kinda maybe implying she fucked his wife

[claraoswalds]

#mrs flood who are you: time lord edition

[backpackingspace]

Okay so with the line "the olive tree where we first met" we have two equal hilarious options.

When penelope was sassily like oh I'll marry you if you make a living bed out of this tree right here! Cue penelope stumbling over odysseus very very carefully digging up the tree "because how else is he going to get it to itacha we can't have a wedding bed out in the open in sparta duh"

Or

2. Penelope, knowing that Helen's suitors would soon be arriving to take over her home for a while. Snuck out and went on her own wacky shenanigan filled journey where she scoped out all the major players. Odysseus caught her spying in an olive tree. And when she got back she told Helen she had dibs on the cutie from itacha.

[citrusai]

taash said "they were doing it" and people ran with the interpretation of an npc that doesn't know solas or the history of the elvhenan even when bellara interjected and said, no, that's not right. that's not how it was for the elvhenan. they formed bonds before they had physical bodies. and people ran to doompost or create weird anti-solavellan shit even though mythal & solas refer to each other as old friends and when she releases him there is no tenderness or love in it. it is the act of unchaining a dog from his post, the stepping down of a general. but to each their own ig.

[puppppppppy]

i like him

[doctorsiren]

he’s mad she ratted him out

[yashley]

imogen & fearne in c3e106

[aalghul]

"claiming any writer ever intended to write that jason was sexually assaulted as a child is stealing from mia" is still one of the most ridiculous takes i have ever seen. by the way

[poisonousquinzel]

they deserved better idc 😐

[my-name-is-apollo]

Why is Hera so hostile to Leto in a manner that she isn't with the other lovers of Zeus? I can't think of any other woman who was targeted so much by Hera. One could say she didn't want Leto to give birth because her children would be a competition to Hera's children, but why bother her even after she had already given birth? Is it because Leto herself is also a threat to Hera?

Sort of I guess?

I don't think Leto would ever be a threat to Hera's role as the queen of the gods but Hera might see her as a competitor for Zeus' affection, even though I think Zeus would not marry someone else and replace Hera.

The twins are definitely a big reason why Hera begrudged Leto - it is outright stated in the Callimachus Hymn to Delos that the reason Hera especially targeted Leto was because she was told that Apollo would be dearer to Zeus than Ares is. Zeus is very proud of Artemis as well. As he himself puts it, he doesn't mind facing Hera's wrath for children like her.

But the continued hatred even after the birth of the twins (like sending Tityus to rape Leto) could have been for different reasons. This wasn't like one of those affairs Zeus would have with mortal women where he'd leave them behind once the child is conceived. Neither could Hera, despite her many attempts, get rid of Leto like she did with the other lovers. Not only did Leto give Zeus children that he loves dearly, she also stayed on Olympus despite Hera's hatred towards her (which isn't directed to any of Zeus' other divine mistresses, btw). It might have also been because Leto herself is dear to Zeus, if the way she's treated on Olympus is any proof. In the Homeric hymn to Apollo, Leto stands next to Zeus - in the Olympian assembly - to welcome their son. Hera is completely absent from the scene, as if Leto had taken her place even if temporarily. Now you could say this is because Apollo himself is such a powerful and glorious son in a way that no other son of Zeus is, so of course Leto would get such an honor (the hymn itself presents it this way).

But here's another instance - in the Iliad, when Hera goes to seduce Zeus, he is obviously very smitten but before getting into the action, he lists some of his lovers (I believe these were his favorite lovers, as a lot of others are not mentioned):

"for never has such desire for goddess or mortal woman so gripped and overwhelmed my heart, not even when I was seized by love for Ixion’s wife, who gave birth to Peirithous the gods’ rival in wisdom; or for Acrisius’ daughter, slim-ankled Danaë, who bore Perseus, greatest of warriors; or for the far-famed daughter of Phoenix, who gave me Minos and godlike Rhadamanthus; or for Semele mother of Dionysus, who brings men joy; or for Alcmene at Thebes, whose son was lion-hearted Heracles; or for Demeter of the lovely tresses; or for glorious Leto; or even for you yourself, as this love and sweet desire for you grips me now.’ (Book 14, trans. A. T. Murray)

Notice how when talking about most of them, he also mentions the children they bore to him but when Demeter and Leto are mentioned, he doesn't bring up their children at all despite them being some of the most accomplished kids of his. What's more, he takes Leto's name just before Hera's. I mean, this is an interpretation but it looks like not only did Zeus love Leto the most out of all his mistresses - giving her a place second to that of his wife, but also his love for her wasn't necessarily only because she gave him two amazing children.

Nonnus does something similar in the Dionysiaca (but this time Zeus is enamored with Persephone instead of Hera) but more notably, when Typhoeus attacks Olympus and Zeus is discouraged, Nike takes the form of Leto to encourage him and it's pretty telling of what Leto meant to Zeus.

One interesting similarity between Hera and Leto is that they both had a giant try to rape them. Porphyrion tried to violate Hera (Zeus inspired him to do this) and Tityus tried to violate Leto (upon Hera's order). Though both of them were killed, only Tityus got an eternal punishment in Tartarus of having his liver/heart eaten out by vultures so Zeus seems to have taken a greater offense at Tityus trying to assault Leto.

Again, I don't think Zeus would ever take anyone other than Hera as his permanent wife - she is irreplaceable to him. There's an entire myth about Hera leaving him and Zeus winning her back. Their relationship is obviously complex and involves all kinds of emotions including love and hate. But Leto is continually dear to him as well and that's something Hera can't do much about.

[wistfullywaiting2]

Odasaku, Sasaki, and the orphanage headmaster are all buried in the same cemetery.

So Kunikida, Atsushi, and Dazai all run into each other grave visiting regularly and politely pretend they don’t. They never acknowledge the meaning behind the bouquets brought, even if all of them know the others know flower language. They never acknowledge the tear streaks down Atsushi’s face, or the solemn look on Kunikida’s. Atsushi never points out how the scent of whiskey is always a bit stronger on Dazai’s coat. They never acknowledge the location of their accidental meetings.

Sometimes Kunikida might offer to take them to get food, or Atsushi will offer a random hard candy from his pocket, on colder days Dazai might lend his coat. None of them are really themselves when faced with grief, and none of them will to hold it against each other.

[lafaiette]

Gods I feel you I'm only 10 hours in after having received the game as a gift and I REALLY try to like it but it just ... doesn't feel like Dragon Age. Characters know stuff they shouldn't know about, the game keeps talking down to me, nothing I did in the previous games mattered, the tone is completely different, the mature storytelling of the previous games seems to be missing so far & what I heard so far of how the lore and the characters from previous games have been handled is honestly the worst part and breaks my heart. idk even if i wanna finish the game at this point anymore, I'm just kinda ... sad.

I'm so sad and disappointed, too, I remember our conversations, fics, and headcanons about DA! We were so excited and happy, because Inquisition, DA2, and DAO were genuinely well-made and aimed at pleasing the fans, despite their faults.

DATV is a good action game, no doubt about that. The combat is fun, there is a lot to explore and discover, and many locations are beautiful, even though some are terrible to navigate (Dock Town's structure makes no sense). But that's it - it's a good action game with the name "Dragon Age" pasted on it. It doesn't feel like it's part of the series, it constantly treats the player like an idiot, some references to past games and characters are literally hidden in the brief descriptions of the mementos, and there is even a Glossary to make sure the new players don't get frustrated.

Everything is safe and aseptic, cleaned of every deep piece of lore that could have scared new fans into buying or continuing the game. Even the banters lack the depth of the previous games.

A good game company should lure new players in not by rejecting their past entries, but by making them look even more interesting with their sequels.

Bioware wasn't afraid of offering piece of lore after piece of lore in Inquisition - it was a game set in a precise moment, whose prologue was directly tied to the events of the previous game, and new players had to accept this if they decided to buy it and play it. If they liked that premise, all that information and those details, then they were more than welcome - they were encouraged! - to go back, try the older games, and see how it had all started. It was a game made for the fans the company had already managed to win over, not for possible fans who may or may not bring new money in.

In DATV the new players can jump right in after quickly learning who Solas is and what he's trying to do, and old fans are left with an empty shell, with minor references that are supposed to make us feel happy and accomplished peppered here and there, while all our past choices and our favorite characters are forgotten or brought back with a terrible case of amnesia. It's lazy, infuriating, and very sad, and it smells of reboot, because the new devs probably realized they couldn't keep up with the amount of lore and choices the series contain, and they needed to start anew.

[creetchure]

one thing i really dislike about "claudia was fridged" is the fundamental lack of understanding of what fridging even means. ignoring entirely why iwtv was written.

fridging is a very specific thing, that denotes a lack of agency in the death (and in general). that death is wholly about someone else (a man), and not something she could have done anything about. It comes from a green lantern, where kyle rayner heads back to his place and finds his girlfriend murdered for the sole purpose of hurting him. It' also often offscreen and irrelevant to the narrative in an of itself, apart from "i need to find my wife's killer".

claudia's death isn't that. if there is one thing to remember about her, one trait about her character, is that she has a will to move, a will to do things, that drags louis forward. Her agency is the main driving force for leaving lestat, her wanting to be able to make her choices for herself. she's the one who makes them go to paris, she's the one who wants to join the coven, she's the one who wants to turn madeleine. claudia's death is something that she's earned, brought upon by enemies she has made. lestat goes along because she's the reason louis left him. the coven goes along and cheers because she's a cog in the machine, someone who wont let them turn her into something she's not. she won't settle for anything less than absolute freedom as a vampire, and that is the reason she dies. it's also an incredibly graphic scene. there is nothing forgettable about her death, about the very image of it. claudia goes out in a blaze of rage and fire.

to call it fridging is removing her agency, and her very active role as a driving force in the story. claudia's death cannot be fridging, because she's never been passive a day in her life, from the very moment we see her on screen to the very last. she's earned her death as a character, rather than as a woman