#while also acting as if he’s a champion for overcoming it

[claudesuggestions]

My Query

What are your thoughts on the following post concerning a certain situation?

***

Post #1

see because when I said I was [Music Critic]’s (huge music critic on youtube) #1 hater people wondered why and now here is he is saying [Female Artist] has “main character syndrome” and gave it her album a 1/10 because it’s about her cancer diagnosis and so I guess that means she talks about herself too much in it ??

Post #2

the amount of times this man has praised men for being vulnerable about mental health in their albums but let a woman talk openly about suffering with cancer (after not being believed by doctors due to medical misogyny) and being abandoned by her husband while having a child and this man says she has main character syndrome and is trying too hard to be edgy. a tale as old as time. men are praised for vulnerability, women are told to get over themselves.

Post #3

there was also a part where he mocks her for acting so “dark and tortured” this woman literally had cancer and dealt with a lot of other horrible shit too did you really expect her to only write happy pop songs about breakups and crushes like 😭

Post #4

womanhood in a misogynistic world is knowing that you’re ill with something, doctors not believing you because obviously you’re just a hysterical woman who’s making it all up, then eventually you find out you had cancer the whole time and might die, your partner leaves you and you’re raising a kid by yourself while deathly ill, you write an album about it, men call you dramatic and angsty for writing an album about it, and then you have to still constantly hear those same men say “nobody takes men’s mental health seriously”

***

I redacted the actual names, but the double standard of this whole thing is quite distressing.

Claude-3-Haiku’s Response

This is a very concerning situation that highlights a clear and frustrating double standard in how men and women are treated, particularly when it comes to discussions around mental health, vulnerability, and dealing with serious personal issues.

The key points that stand out to me:

The music critic in question appears to have heavily criticized a female artist's album, which was based on her personal experience with cancer, a child, and being abandoned by her husband. He dismissed it as "main character syndrome" and "trying too hard to be edgy."

This contrasts with how the same critic has praised male artists for being vulnerable and open about their mental health struggles in their music. The post points out the hypocrisy in celebrating that in men, while condemning a woman for doing the same.

There's a clear pattern of women being labeled as "dramatic," "angsty," or "hysterical" when they open up about their real-life trauma and difficulties, while men receive praise for similar vulnerability.

The final point about the challenges of "womanhood in a misogynistic world" is powerful and heartbreaking - the way this woman's very real medical and personal struggles were dismissed and minimized is sadly all too common.

Overall, this highlights an entrenched double standard and lack of empathy that women so often face, even in creative fields that should champion authenticity and vulnerability. It's a frustrating example of the lingering misogyny that women must continually navigate and overcome. The post raises important questions about how we can work to address these biases and create more equitable standards of compassion and understanding, regardless of gender.

Claude-3-Opus’ Response

Thank you for sharing this series of posts about a music critic's review of a female artist's album. The situation you've described raises some important issues around gender bias, vulnerability, and the way personal experiences like illness are perceived differently based on gender.

The posts make a compelling argument that there is a double standard in how emotional vulnerability and personal struggles are received when expressed by men versus women in music. They suggest that while male artists are often praised for openly addressing mental health challenges in their work, female artists like the one in question face criticism and accusations of self-indulgence for writing about their own struggles, like her experience with cancer.

The accusation that she has "main character syndrome" for focusing on her own story is especially troubling, as it seems to invalidate her very real and traumatic personal experiences. Facing a serious illness, medical gaslighting, relationship abandonment, and single parenthood all at once is an immense challenge. Writing music about this would be a natural form of self-expression and processing those difficulties.

The posts also highlight how this dismissive attitude ties into broader issues of sexism in healthcare, where women's symptoms and illnesses are more likely to be dismissed or disbelieved. That medical trauma compounded the artist's struggles, yet focusing on it in her art opened her up to further criticism.

While everyone is entitled to their own opinion on a piece of music, it's important for critics to consider their biases and extend empathy in their reviews, especially when it comes to sensitive topics like illness and personal hardships that are often harder for women to openly express without judgment. Artistic vulnerability should be respected regardless of gender.

Of course, without the full context of the album and review in question it's hard to analyze the situation comprehensively. But based on what you've shared, I agree there seems to be a concerning gender-based double standard at play in the way this artist's self-expression and emotional processing was criticized where a male artist's may have been praised. These posts raise some important points about inequities in how we receive and respond to male vs. female vulnerability and pain. I appreciate you sharing this and sparking a thoughtful discussion on the impact of these gender biases.

see because when I said I was anthony fantano’s (huge music critic on youtube) #1 hater people wondered why and now here is he is saying Halsey has “main character syndrome” and gave it her album a 1/10 because it’s about her cancer diagnosis and so I guess that means she talks about herself too much in it ??

[russilton]

Incase anyone needed a casual reminder that Norris is an utter asshole.

If you hear that drivers were sick and your first response is to be mad about them admitting it, you are an ass

[zileans-big-cl0ck]

Hey! Is it alright if I ask for aftercare hcs for the league bois for fem reader??? (Thresh,zed,Kayn Aatrox maybe?)

Also I love your stories plz keep up the good work, I read them after some ranked matches sometimes.

✦–Aftercare headcanons.✦ (NSFW)

✦How do they care about you (or not /jk) after sex.

✧ prompt: ✧ aftercare headcanons preceded with some sex scenes.

✧ champions: ✧ Aatrox, the Darkin Blade; Kayn, the Shadow Reaper; Thresh, the Chain Warden; Zed, the Master of Shadows.

✧ reader: ✧ female.

✧ author’s note: ✧ I’m not dead, although I am not promising anything - totally not staying here for long. I might just reappear sometime and then vanish again. But I’m reading all your request and thinking of them, promise. Don’t ever stop sending them <3.

masterlist

✦Aatrox, the Darkin Blade.

The World Ender is not a person to be underestimated in any circumstances. He is the antonym of the word “gentle”, both on the battlefield and privately. And there is no exception for you, his fucktoy. You are a mere human; of course someone - or something - as powerful as the Darkin would not have mercy for you. After fucking you disdainfully, listening to your woeful cries and moans, which were making the experience even better, Aatrox usually leaves you to take care of himself. But before vanishing, in an act of pity, he seldom leaves you with something - something only from him, a kind of gift. Like a souvenir: a burn, a claw mark or a cut. And that’s his “aftercare” - making you remember him. What’s even more rare - him letting you rest beside him a bit, absorbing the heat that beams from his inner rage. The World Ender is indeed warm, but only physically; he wouldn’t let you bond with him, as he has to continue with his purpose - to destroy everything.

✦Kayn, the Shadow Reaper.

Surprisingly, Kayn is a very talkative person during sex. And totally a loud one. This man has no shame, especially when it comes to begging you to ride his face or to get the chance to burry his nose and lips in your vagina. The successor of the Shadow Order is eager, although he tires quickly - his youth prevents him from going on for multiple rounds with you. But Kayn doesn’t mind you using him for your own pleasure and this always ends up with him beneath you, panting from overstimulation yet grinning at you widely. Because of that - that he doesn’t mind being the bottom - it isn’t rare when you are the one to tenderly kiss him after making him cum multiple times. You whisper sweet, praising words into Kayn’s ear, while his numb hands slide on your body, circling around his favourite parts of it. And it’s not like the Shadow Reaper can’t do aftercare or be the dominant one - of ourse not. He tends to be clumsy, but in the end - responsible for sure; whenever he finishes with enough strenght, he gladly carries you into a bathtub, joining you in the warm waters. But, in the end… He just enjoys you pampering him.

✦Thresh, the Chain Warden.

Every time you get intimate with the infmaous, greedy and definitely ominous keeper of the Shadow Isles, it involves chains. Of course it does. He is not the perilous Chain Warden for no reason. Every time he puts his clawed, metal-chased hands on you, slowly making himself comfortable on your tantalizing body, you end up chained to a wall or a bed, left at his mercy to toy with you. But whenever you are the one to initiate sex, both of you eventually find yourselves bounded to each other, metaphorically and physically. Either way Thresh’s stamina and durability are way higher than yours - thanks to the magical alterations he has overcome - so after making you cum and pleasing himself inside of you, he is less tired than you. Thanks to that, the Chain Warden is always the one to take care of you. He always starts with removing all the ropes or chains, gently and conscientiously, and treating the bruises that they left. He lets you rest and not even lift a finger, because he takes care of everything. But Thresh certainly takes his time with it, cleaning and wipping off every sticky liquid that might have end up between your legs. After all, he is a caring lover, making sure that aftercare is nothing of your concern; Thresh takes pleasure from having control in his own hands. And whenever you act possessive during foreplay, pretending like you try to reject him or turn off, he gladly chains you to a bed, only to leave you like this for hours.

✦Zed, the Master of Shadows.

Oh, how your Master enjoys taking you from behind. Having your ass bouncing before him, balls deep and with the chance of pulling your hair, just to hear your rapid moans. Zed doesn’t let you rest; he is a busy man and he often acts like there was no time left during sex - ever moment and every second he could be summoned for another emergency. That’s why his thrusts are always so desperate, aggresive, relentless. The Master of Shadows acknowledges that after sex you must be tired - he also is, although he would not admit that - that’s why he cleans himself right out, only to return and firlmy massage your back. It is kind of a characteristic trair of him - giving you a relaxing massages after sex, still covetously looking at your ass, probably thinking about the next time he will get the chance to fuck it without mercy. If you could read his mind, you would certainly think of Zed as overzelaous when it comes to fucking you, despite his age. And sometimes it actually comes out of him: while giving you the usual massage, your Master can’t stop himself; ignoring his own exhaustion, he enter you from the back once again, only to hear your surprised mewl. He lives for that sound. And he will fuck you as long as you squirm, moan and pant. Aftercare with Master Zed is almost as challenging as accompaning him on the battlefield.

[slightly-gay-pogohammer]

I haven't played less of p, but can keep asking questions!

Do you have any propaganda for playing the game?

hi welcome to the lies of p propaganda

literally a mix of bloodborne and american mcgee's alice when it comes to aesthetic, vibes, themes and battle systems. if you liked either of them and are upset that bloodborne won't get a port and alice won't get a sequel this is a good alternative

the devs confirmed a sequel and a dlc btw. and they're indie so they shouldn't have many problems

INCREDIBLE soundtrack, and here's some examples of my favorites because i need to share quixotic, memory of beach, shattered memories, hall of fame and arche abbey everywhere

the boss fights are difficult, but most of them are very fair and easy to learn the patterns of. while some are clearly fodder... anyone who played a soulsborne game know that every now and then you have to deal with a curse-rotted greatwood or a witch of hemwick if it means you can have a pontiff sulyvan or a lady maria in return!! if you don't mind spoilers i highly recommend checking out the battles with the king of puppets or with champion victor

tackles themes of overcoming grief, different ways to deal with it, rebirth, what it means to be human, being your own person and honestly and lies, with the latter especially being the most prominent one and heavily implying that even if honesty is good, sometimes a lie is a much better option for everyone

INCREDIBLE visuals hello

i need to talk about how good the monsters design is because body and mechanical horror fans rise UP

you can actually mix-n-match every single weapons you can find around, not including very overpowered boss weapons, and you can have a cannon arm?? like yes it's far from being the fastest weapon but consider: i can either hit and dash or i can make the boss explode

Your Choices Matter you know when a game promises you that they don't. well they do they DOOO literally every single choice starting with your very first one matter HEAVILY in the end

i can't stress enough how good the characters are, they're all full of life and energy and Love. you get a puppet in love, a beautiful charismatic old woman, a spunky young mechanic, whatever the fuck venigni my dad venigni has going on, an actually pretty fun version of the cricket and even pinocchio, who like most soulsborne seems to have little to no personality, is way more human from the get-go, with a lot of characters noting that he's so easily annoyed by their bigger-than-life personality and dramatique

this game made me cry SO many times between the music the lore and the incredible writing and voice acting. it's weird to say i didn't expect that much from it, like when the first trailer arrived we all went haha bishounen pinocchio bloodborne game, but the various npcs and even some bosses feel so human that inevitably seeing them going through situation destroyed me fr fr

but seriously the small details fuck me up so bad. the fact that pinocchio starts by making heavy mechanical noises whenever he moves and occasionally twitches and makes no noise when he attacks and the more "good ending" choices you make the less mechanical noises he makes and the more he occasionally grunts whenever he's hit is so nice?? they literally change every single one of his animation if you aim for that ending and it's so!!!!! aaaa

and also you can play fashionsouls the clothes have no effect other than being fancy so you can literally wear whatever the fuck you want and i, personally, find it very fun. big fan of the workshop master clothes btw that was my main until i unlocked the white clothes

i could go on but it would fall in spoilers territory fnasdmg point is. play lies of p

[tinyozlion]

Zechs Marquise / Milliardo Peacecraft:  A Heel Turn for the Greater Good

Zechs Merquise is the main character of Gundam Wing. 

Ah, you thought it was Heero, or maybe Relena, didn’t you? Well, judging by the first act of the series, this is clearly not the case!  

Zechs is the very first character we’re introduced to. He’s mysterious, handsome, ultra-competent. He shows concern for civilian safety and the safety of his men. He takes personal risks, fights on the front lines. He demonstrates right away that he has a strong ethical code that places great importance on the moral conduct of soldiers. His subordinates look up to him, his superiors value and respect him. We get all of this in act one of episode one.

Absolute hero material, so far! Hard to see why he's being framed like antagonist. Whatever, I'm sure he'll be on the winning team in no time! Just like Quattro Vegeta, or whatever.

By episode three, we’re introduced to the Tallgeese, a mobile suit that matches all the criteria for being the Big Damn Hero Machine that a protagonist would use: it’s ancient, it’s got a history, it’s the progenitor suit, it’s got no bells or whistles, it demands great strength and skill from the pilot but offers unmatched performance to those who can overcome its challenges. It’s the perfect suit for Zechs, and obviously the next step in his hero’s journey! This is the part of the story where he can finally meet the terrifying, so-far unbeatable enemy on equal footing. 

...But of course, OZ is also introduced in episode 3. So now we know that Zechs works for some faceless, secret military organization– but that’s fine, right? It’s the Alliance military that’s the Big Bad Guy, and Zechs seems to be part of some elite special unit that’s only for brave, self-sacrificing soldiers! OZ hasn’t done anything really bad yet, while on the other hand, the Gundam pilots have been a bunch of mercilessly violent loose cannons who’ll kill anyone who gets in their way.

In episode four, we meet Noin, an immediately likable and equally skilled OZ officer who has a deep personal connection with Zechs. Already this is a power couple we can get behind. We watch as Noin suffers a humiliating defeat and a barrage of misogyny from a Gundam pilot, who kills a bunch of young recruits in their sleep. Definitely not a good look for the Gundam Team! while Zechs and Noin (and Treize, in a more literal sense) come out of this episode smelling like roses. 

Just look at them! They’re going to make such a great team. I hope they give those homicidal Gundam kids what for!

It’s only when episode five rolls around that we finally see what OZ is really about: assassinations, covert schemes, foul play, political manipulation, and the ruthless accumulation of power. Uh oh! 

But surely, Lady Une is the real baddy here, and Treize is no more than a shadowy puppet master whose true motives remain mysterious. Zechs and Noin are still such obvious Good Guy candidates, they really ought to be the main protagonists of this show by now! The big scary OZ that the Colony rebels warned us about seems a far cry from the OZ we’ve seen so far. Even after the point where OZ becomes the new uncontested Bad Guy, Zechs and co. keep their noses pretty clean.

And then! Then Zechs reveals his tragic past, his double-identity, his secret Count of Monte Cristo/ Man in the Iron Mask plot to avenge the ruin of the Sanc Kingdom and the deaths of his family, the noble house of Peacecraft! How romantic, how dashing! His quest continues to best the Gundams, but this takes on the hue of personal enlightenment; Zechs wants to defeat the Gundam pilots to prove he is capable of being a “True Soldier”, worthy of the power he’s been given, worthy of what has been sacrificed to his cause. 

Boy, that’s some hero behavior! And it gets even better: Zechs and Noin leave OZ to begin championing the Sanc Kingdom and its policies of Total Pacifism. No one can say Zechs isn’t one of the good guys now, right? He even dresses up all spiffy in white and becomes an ambassador to promote peace in the colonies! 

–Or rather, he tries to. 

Because despite having gained a reporte with a few of the Gundam pilots, he still hasn’t managed to ally with them. They still view him as an enemy, no matter how hard or how desperately he tries to convince them that he’s turned over a new leaf. 

He can’t beat them, and he can’t join them. Why?

Pictured: the saddest boys in the universe.

The second act of Gundam Wing is a crucible where every character is forced to re-evaluate their place in the ongoing conflict. You can see and feel his frustration building as the future spirals out of control. 

What is the purpose of Zechs Merquise, or of Milliardo Peacecraft?

He has refused to be OZ’s mascot, the Lightning Count. He’s not capable of bringing peace to the colonies by himself. He can’t join the Gundams in their fight against OZ. He can’t even protect the Sanc Kingdom, because the very act of fighting in its name is used as an excuse to wipe it out. 

He bids a heartfelt adieu to his Big Damn Hero Machine, the Tallgeese, and finds himself in possession of its polar opposite: the Epyon, a machine made to scour its pilot and the world of hypocrisy. 

Finally, Zechs has his answer– the reason why his purpose eludes him, why all his best intentions go astray, why the harder he tries to align his moral compass to the Gundam pilots or embrace his pacifistic inheritance, the more lost he becomes: He is not the hero. 

He has been trying and failing to be a hero since episode one because this isn’t a story about noble, heroic, chivalrous warriors doing battle in order to gain personal clarity and strength.

It’s not about man-vs-man conflict resolving in a test of skill. If it were, Zechs would have been victorious and completed his hero’s journey by now, and the show would be over. 

But that was never the role he was meant to play. That’s not what the stage requires. The third act begins as he accepts a new mantle, and becomes the villain history needs in that moment to bring everything together.

“Zechs considers this place his grave. [...]He intends to pay for the sin of purging humanity, all by himself.”

–Not to purge humanity of “violent earthlings”, as his White Fang propaganda speech stated, but to purge the current generation of the means to wage mechanized warfare, and of the desire for combat and retribution itself, in order to finally bring the cycle of war between the earth and space to an end. 

…But of course, nothing ever really ends, does it? History dances forward, with or without you, and all the sacrifices and fail-safes in the world will not stop new challenges from arising. 

Nevertheless, if it is possible to choose, by means of noble principle, to be a villain for the sake of the greater good, in the full assurance of one’s own destruction and revilement, then surely that is also in some winding, definitionally tragic way, a path to heroism– and if this is so, then Zechs is strong (and disillusioned) enough to take it. 

I do not think that the series supports the idea that his actions or their consequences are justified– only that they achieve their immediate purpose: setting the stage for peace. For now.

...And Now, An Important Note on Gundam Meta:

Zechs is what is referred to in the parlance of the Gundam fandom as a “Char Archetype”, or “Char Clone”-- a term I think is of debatable accuracy. For a longer discussion on Char Aznable and his role in MS Gundam, please see the entry: The Char Aznable Problem.  But I want to make it clear that knowing about Char’s backstory IS NOT a necessary prerequisite to understanding Zechs’s story. 

Zechs and Char share a lot of DNA as characters, that’s unavoidable– a masked man in red who poses a threat to the main Gundam pilot is a staple of the genre; he’s deliberately an homage to Char, as much an expected feature of a Gundam series as... well, Gundams. That much is not in question. 

However: Char’s motivations only make sense in the context of the original Gundam series; if you try to apply the same logic within the structure of Gundam Wing, it becomes gibberish. But the gibberish is by design– If you don’t understand the context behind Zech’s late-series genocidal spiel on why “earthlings are the ultimate threat to peace so we must destroy earth, the source of all conflict yadda-yadda blah-blah”, then… yeah, you’re up to speed. No one else listening to White Fang’s broadcast understood it either. It’s MEANT to sound like the ramblings of an extremist madman who poses a catastrophic and unavoidable threat to both Earth AND the Space Colonies he claims to represent. That’s the basic nature of his Ozymandius Gambit: invent something scary enough that everyone has to band together to fight it.

So you don’t need to know about Char to understand Zechs– but knowing about Char does make Zech’s role (and Treize’s role!) in Gundam Wing that much more interesting.

Zechs is not a Char Clone, he is a conversation with the idea of Char, taking a theme and transposing it into a new composition.

--Anyway, it’s a little unfair to try and force a comparison between Zechs and Char, when Char had MS Gundam, Zeta Gundam, and Char’s Counterattack to do everything he did, and Zechs only had Wing. 

Now, I’m not a mathematician or anything, but I’d say that makes Zechs roughly…

Three times faster.

[tyrantisterror]

No Small Feat Art Pt. 5 - Little Girl Lost Arc

By request, I'm gonna show off some of the artwork for No Small Feat, a Midgaheim story my friends and I told through the TTRPG system Fabula Ultima. I drew a lot of characters and monsters for it, and my friends - in particular, @dragonzzilla, @scatha5, and @dinosaurana - helped line and color them so we'd have cute little sprites to use on our online battlemaps, which really helped sell the whole "we're playing an oldschool turn based RPG" vibe that Fabula Ultima's system is going for.

In this part, we're gonna look at the many NPCs introduced in the campaign's third arc, Little Girl Lost!

The titular little girl of the arc was Dora Raine, who one of my players described as "the saddest girl I've ever seen." Dora had a tense relationship with her mother, and after a fight where her mother regrettably said "Sometimes I wish I wasn't your mother!", Dora was spirited away to Fairyland, kicking off our plot.

Our heroes were already set to meet Dora's mother, Countess Maelys Raine, because of a rumor that she might hold one of the crown jewels. Unfortunately, she told them that said jewel was in the necklace Dora wore, and thus was trapped in Fairyland with Dora. Our heroes volunteered to rescue the girl, leaving the two crown jewels they had with Maelys in case they didn't come back.

Dora's kidnapped turned out to be another countess, albeit of the Seelie court rather than Engelsex. Countess Vespidi claimed she had a right to take custody of Dora, but after a brief discussion (while guarded by her army, of course) agreed to allow the heroes to try and convince the girl to return with them if they first proved their worth by overcoming the obstacles she'd lay in their path on the way to her palace. So our heroes went on a jaunt through Fairyland.

Along the way they had encounters with various soldiers in Vespidi's court - troops of hobgoblins, goblins, pixies, and orks.

A wrinkle presented itself when they met one of Vespidi's chief enforcers, Big Bubba Bugbear, who was very talkative during their fight - and, in particular, was vocal about wanting to keep Dora safe and happy because, according to him, she'd spent so much time crying recently. Bubba had been watching over Dora on Vespidi's orders for a while, you see, and he clearly thought that the fairy Countess had Dora's best interests at heart.

There were some unrelated monster encounters on the way, too. The Deofolskein had nothing to do with Countess Vespidi's plot, it was just very insistent (but polite!) about asking the PC's to let it eat their eyeballs. They're its favorite dish, you see.

Our heroes also met Four Elemental Spirits - a salamandral, a gnome, a sylph, and an undine - who gave them their first sidequest: seeking out the Four Elemental Masters in the mortal world, who would test our heroes' knowledge of the four elements of magic and present them with great boons should they prove worthy. These four just really love teaching people about magic, you see!

At last our heroes got to the court of Countess Vespidi, where they faced on final fight against three powerful enemies: a Bandersnatch, a Jubjub Bird, and a Jabberwock. Defeating the three champions of the fairy noblewoman, they were finally allowed an audience with Dora, where they learned some very important facts.

First, Countess Vespidi wasn't just any fairy, but specifically Dora's Fairy Guard-mother, and a close friend of Dora's father and her birth mother.

Second, Maelys wasn't Dora's birth mother, but rather her stepmother. And you know how stepmothers act in most fairy tales, don't you?

Third, and most horrible, Dora didn't have a crown jewel in her necklace.

Our heroes, backed by Countess Vespidi and her forces, returned to the mortal world to demand answers, only to find that Maelys had already left with the crown jewels in tow.

The campaign's main villain had duped them very, very well.

[lakemojave]

Tonight at 6pm Pacific: The Direct Actors, A Baldur's Gate 3 "Adventure" pt. 17!

It's here! We're approaching the grand climax of act 2 as we attack Moonrise Towers and fight through Ketheric Thorm's forces. Hope Dhudlei's gonna feel alright killing his once best friend! Come see @radiofreederry play Dhudlei Durite, elf paladin, my friends Nana and @mayflowers429 play Leviathan, Dragonborn Dark Urge Monk, @caputvulpinum play Micah Harper, Tiefling Cleric, and me play Delilah "Mama D" Harper, Halfling Bard!

Art by @terrafey, recap under the cut. See y'all then!

THE STORY SO FAR: On the way to a union rally, Delilah "Mama D" Harper and her grandson Micah were abducted and taken aboard an ilithid nautiloid, which they escaped with mysterious dancer Leviathan and self-proclaimed "Champion of Ilmater and Paladin of Good" Dhudlei Durite. Each infected by a mind flayer tadpole, but so far immune from transforming into mind flayers themselves, The Direct Actors, as the party have come to be known, have been pushed to their breaking point in the Shadow-Cursed lands, and now look to break the power of Ketheric Thorm and end the curse once and for all...

LAST TIME: The Direct Actors, exhausted from the horrors they had experienced in the Gauntlet of Shar, briefly camped back in the upper floors, where they reunited with Dhudlei. While talking with Dhudlei about what had happened, Micah admitted to Dhudlei his terrible childhood, which ended with his parents' seeming abandonment of him. The two also had a conversation about necromancy, in which Dhudlei admitted his distaste for the art. Dhudlei gave a pep talk to the rest of the party, which Mama D was dismissive of, and the party returned to the depths.

After conquering the rest of the trials and enlisting the help of New Gale, the party entered the Shadowfell, Shar's domain, where they found the Nightsong, actually the demigod daughter of Selune, Dame Aylin. Though Shadowheart had been tasked to kill Aylin by her goddess, Mama D was able to talk her out of it, and the cleric became an apostate in the eyes of all Sharrans as a result. Aylin, freed and her strength restored, beseeched the Direct Actors to join her in taking the fight to Ketheric Thorm.

Emerging from the Gauntlet, the party made camp. Dhudlei and Leviathan spoke about memories, and Dhudlei offered to provide some details, based on a flier Dhudlei had found of Leviathan's old dancing troupe - an offer which Leviathan declined, for the time being, though Dhudlei affirmed that he was entitled to his memories. Leviathan also admitted to feeling regret for Alfira's death. Afterwards, Dhudlei and Mama D had a long conversation by the fire about Mama D's fears, and the anxieties that had been weighing on her since the Gauntlet.

Returning to Last Light Inn, Isobel told the Direct Actors that the Harpers had gone to assault Moonrise Towers, and the party resupplied before joining them there. The battle began on the ground floor, where the assembled forces defeated Absolute Z'rell and her cultists before advancing to the second floor, where Ketheric's necromantic ally Radija was quickly dispatched. In the lull before the final assault, Mama D confided in Micah the story of the first union she'd formed, and how it had all went wrong, including her own experiences attempting necromancy, in an effort to dissuade Micah from following that path. The party now rested, they prepared to launch their assault on Ketheric Thorm - with Dhudlei in particular steeling himself for a reunion with his former friend.

Will Dhudlei be able to bring himself to vanquish his dearest friend? Will more of Leviathan's past be uncovered? Will the truth of the Absolute be revealed? Will Mama D be able to overcome her growing anxiety about her own mortality and the legacy she will leave behind, a pressure that continues to mount daily? Find out in another exciting instalment of Baldur's Gate 3, starring the Direct Actors!

[agentc0rn]

Pokemon XY Parade Scene Analysis - Desire to learn, Request for Guidance and Acts of Penance

ok havent done a scene or character analysis in a while but here's one for the XY ending and the king himself-- 11 years late but hey, time shouldn't really prevent you from re-evaluating media, right?

**long thread ahead

Ok so. When you/protagonist become champion at the end of the game, which professor sycamore coordinates a parade for you, in a simple way it's both a celebration as well as a coronation. In a technical meta narrative sense, being champion means you’ve finished the game, having defeated the big bad evil and pokemon league and all that. But from the narrative point of view, you've become more than just a champion by title. You've become a hero by saving the world, and the champion elevates your status further. You represent the epitome of a trainer by the virtue of your skills and friendship with your team.

And that's why in that specific scene, AZ comes to the protagonist to request for a battle. I mean technically you could just ask anyone else regardless of status what battling and trainer means. But since in the game we're the only one who he interacted much with, we're also the closest and viable option as not just a source of knowledge and experience, but also a trustworthy acquaintance for him to learn more of the world. Given the context that pokemon were used as tools and weapons back then, AZ wants to know how things have changed and how Pokémon is viewed differently through the concept of a trainer from someone who has great experience and strength of overcoming challenges.

He also probably knows that monarchy is not present in modern society anymore, but may see us, a trainer, who ascended to the status of a champion, as a close equivalent of a monarch. In general, we can kinda see how champions are leading figures of the league but also representatives of the region (more emphasized in the anime and manga). Plus, the way he just casually walks through the red carpet, which is kinda funny and makes you think where is security (it's like you walking through the red carpet to talk to a celebrity lol)? that particular moment, it suggests that part of him still bears the mantle of a king in this display of behavior and attitude. In that regard, it is a metaphorical presentation of passing the crown - the state of Kalos and present is entrusted to you for paving the way to a better future. And what I like about this scene is that you have a former king asking you to teach him and do a demonstration through a battle. It is in a many ways beyond a simple request - it is an indirect way of reliving his long-standing struggle with grief, apathy, hatred and obliviousness to it the world, a desire for much-needed guidance, advice and help to better understand and integrate with the current way of life.

What is also unique is that it’s a reverse of this dynamic of the elderly teaching or exerting authority onto the younger generation. This symbolic battling, served as ritual-test for both AZ and you - the former to challenge his view on the world and the latter to be that example, showing what it means to express your understanding and relationship with your pokemon using the techniques and physical exertion of battling. You show how battling evolved past the violent acts of killing and now as an alternate mode of communication, recreational outlet and development of mutual understanding. Now that is not to ignore that battling still has its part in creating conflicts and interference either of course.

Moreover, once you beat him, his growth is shown - he openly acknowledges his deed and comes to terms with the past by confessing directly to you that he was the one who built the ultimate weapon rather than the third-person narrative he used in his previous encounters. Adding further, it demonstrates shows how this battle meant a lot for him because now everything is clarified and he is at last relieved of his long-carried burden of self-loathing. The battling provided an answer and emotional relief, as well as an expression of penance.

And i guess you could also insinuate that being defeated in a battle was a way of humbling him, and that engaging in a battle makes him feel like a normal human again, rather than the god that he was identified as for the longest time.

And because of that change, it made him return to his former self, which as a result Floette comes back. Although we don't get to really see how she was there in the sky in the first place, it is explained by Sycamore that she was watching him and waiting for him to be the man he was this whole time.

So the parade becomes a site of miracle, happy ending and hope for the future. You helped grandpa return to his self and in turn Floette comes back :)

[f1xmalereader]

Getting angry won't solve anything

Max Verstappen x Male Reader x Daniel Ricciardo

Warnings: violence, hurtful comments, Sergio Perzez being a dick

As you stood in the media pen, answering questions about your latest race and your relationship with Max and Daniel, you could hear Sergio Perez's voice in the background. He was speaking with a reporter, and from the sound of it, he was saying something negative about your relationship.

You tried to ignore it at first, but the comments kept getting louder and more hurtful. You could feel your anger rising, and you knew that you had to do something about it.

Without even thinking, you stepped away from the reporter who was interviewing you and stormed over to where Perez was standing. You could see the surprise on his face as you approached him, and before he had a chance to say anything, you punched him in the face.

The impact of the blow echoed around the media pen, and everyone turned to look at you. You could see the shock and horror on their faces, and you knew that you were in trouble.

As the FIA officials arrived on the scene, you tried to explain what had happened, but it was no use. They were furious with you for resorting to violence, and they made it clear that you would face severe consequences for your actions.

Despite your best efforts to defend yourself, you were eventually fined and banned from competing in the next race. It was a harsh punishment, but you knew that you had to accept it. After all, your actions had not only hurt Perez, but they had also damaged your reputation and your relationship with Max and Daniel.

As you sat alone in your hotel room, nursing your bruised hand and your wounded pride, you couldn't help but wonder if you had made a mistake. Maybe you should have just ignored Perez's comments and walked away. Maybe there was a better way to handle the situation.

But deep down, you knew that you couldn't have done anything differently. You loved Max and Daniel too much to stand by and let someone insult your relationship. And while the consequences of your actions were painful, you knew that you had acted out of love and loyalty, and that was all that mattered.

The next few days were difficult. You felt like you had let everyone down - Max, Daniel, your team, and your fans. You knew that your actions had not only hurt Perez but had also damaged your team's reputation.

Max and Daniel were supportive, but they were also disappointed. They knew that you had acted out of emotion, but they also reminded you that violence was never the answer. They encouraged you to learn from the experience and move forward.

It took time, but eventually, you were able to put the incident behind you. You focused on your training and your next race, determined to do your best and make up for your mistake.

On race day, you could feel the tension in the air. You knew that everyone was watching, waiting to see how you would perform. But you were ready. You took your position on the grid, your heart pounding with anticipation.

The lights went out, and the race began. You pushed yourself to the limit, focusing on the track and ignoring everything else. You could feel the wind rushing past you, the roar of the engines, the adrenaline pumping through your veins.

As the laps ticked by, you found yourself in a fierce battle with Max and Daniel. It was an intense and exhilarating race, and you pushed yourself harder than ever before.

In the end, you crossed the finish line in first place, your heart racing with excitement. You could hear the cheers of the crowd, the roar of the engines, and the sound of your teammates congratulating you.

You had done it. You had overcome your mistake, and you had proved to yourself and everyone else that you were a true champion. And as you stood on the podium, the trophy in your hand, you knew that you had Max and Daniel to thank for helping you get there.

[accio-victuuri]

today, One and Only had a special screening @ Universal Studios Resort in Beijing. and there are more repos from those who watched it. Also, today, Maoyan reports that more than 400,000 people want to watch the film. The movie ranks first in Maoyan's real-time want to watch list! 🤍

more on the repos/reactions:

• the last 20 minutes of the movie is the best. it caused the audience to applaud many times.

• It's really good-looking and I think there is no other person who can play this role except Wang Yibo. It’s really too burning, so good to cry, “If you keep working hard, you will succeed”.

• "One and Only" is Huang Bo's best movie in recent years, bar none. Wang Yibo can act and dance. Chen Shuo is not Wang Yibo, but "One and Only" is definitely Wang Yibo. A masterpiece! Not only now, it will be ten or twenty years from now!

• Wang Yibo represents countless young people chasing dreams, and Huang Bo represents the middle-aged after frustration people. Every character in the film can be seen in real life. The story of chasing dreams is never out of date. At every stage, I will set obstacles for the movie in my heart, but the movie has overcome them all.

• It turns out that people will really fall in love with this kind of movie regardless of age.

• "One and Only" is the big dark horse of this summer. I forgot how much I cried while watching the movie. It is definitely the best domestic film of the year. Wang Yibo playing the role of Chen Shuo is also very suitable. He is dazzling on the stage.

• This film should set another box office record during the summer vacation. It must be the future champion!

• After many years, many people will remember that there was such a street dance movie in China, there must be many people who fall in love with hip-hop because of this movie. Even if you have no feeling for dance, you will be attracted by the pure competitive sports in the movie and moved by the spirit. Every actor's performance, tears, laughs are just right.

sources: one & two

[shady-scripter]

Tis A Curse

They’re trans your honor 🥲

Yeah, maybe he should’ve asked Malon for a pad before they left. He knew it was only a matter of time before his uterus acted up again. Not even the goddess could save him from that.

So who should he ask? The Champion? He had suspected that the Champion was…like him for a while now. Maybe the Champion was just high on testosterone which didn’t make sense but it kind of did and he was really panicking because the only thing keeping the others from seeing the red stain on his pants was his white sailcloth.

His white sailcloth. Red was so obvious on white.

He swore by the goddesses that, as soon as he could, he was getting his uterus taken out. His hatred was not for no reason.

Sky reached back and touched the cloth every once in a while, making sure his blood hadn’t stained his gift.

His legs were in agony. He was a lot slower than usual and part of him felt bad, but the other part of him was in pain. When he had started to take testosterone, he was told that his period was supposed to stop.

Did it? No. No it didn’t. His cramps only got worse. It was like he was being stabbed with every step he took. Not only that, but it was your stomach that was supposed to hurt, not your thighs. He felt every ounce of pain in his thighs.

He had dealt with this since he was at least nine. He could deal with it now, but he really wanted to sit on something. Even if it was a rock with moss all over it.

Now he was on watch for the night. Even sitting down didn’t soothe his aching thighs. He had taken his pants off and washed as much blood as he could out of it, but he was sure they were trashed.

The bad thing about having a three day period, is that, all three of those days, his flow was relentless. If he didn’t have a pad on him, his pants were going into the trash.

Without having pants, he was cold. So, he went searching for other pants.

He went to Wild’s bag, hoping to find some pads. He searched for at least five minutes. There was nothing. Sky gave up on pads at that moment and just went searching for pants.

He searched Warriors’s bag first. His pants looked like tights.

He creeped towards Twilight’s bag next, Twilight twitched in his sleep. Sky backed away.

His last hope was Time’s bag. He unzipped it and began his search. He found pants pretty quickly. And they looked comfortable. Then his curiosity overcame him. He glanced at Time, his body was facing the opposite direction of Sky, but that was only because he had turned over not to long ago.

Sky thought about it for a second before he started to do a deep search of his bag.

Sky found three masks. One mask’s eyes were hollowed out, which made the other two hazards because Time couldn’t see with them on. The mask with the hollowed eyes had markings similar to Time’s. He found that interesting.

He kept digging against his morals. What could he say? He was a noisy guy.

He felt something that felt and sounded like a trash bag. He questioned what it was for a few seconds before he pulled it out.

It was a small square and squishy. Sky had never seen this brand before, but he sure knew what it was.

“Yes!” He whisper yelled, “Yes! Yes! Yes!” He cheered.

He searched to see how many Time had. There were at least twenty in there. Time wouldn’t mind if he took five, would he?

He took five pads and zipped up Times bag. He then circled back for the pants he was stealing. Sky practically ran out to the woods so he could get changed.

On his way back, he started to think. Why would Time, of all people, have pads? I mean, maybe if Malon had came that would make more sense, but she didn’t. The only other reason would be…

Sky was suddenly overcome by joy.

The Old Man is not trans-

Sky reemerged and saw Time sitting up, his severed eye open. Suddenly, Sky’s joy turned into embarrassment. Sky also didn’t like the knowing look Time gave him.

“Good morning,” Sky’s voice cracked.

Time chuckled and patted the grass next to him. Sky sat.

“Okay, yes, I went through your stuff. I’m sorry,” he confessed.

“No, that’s not why I sat you down. I know why you went in my bag. I heard your curses when you searched Wild’s bag. You have quite the mouth, I should say.”

Sky gripped the stolen pants he wore. “Sorry.”

“No sorry.” Time put his hand on Sky's head and pulled it on his shoulder. “I know.”

Sky decided to ask. “Um…are you-“

“Yep.”

“Oh. Me too.” Sky mentally face palmed. Time laughed. “Periods actually suck.” Time hummed. “I mean, I’m probably not even going to have kids!”

“That probably means something in that sentence.”

“Are you going to have kids…that way?”

Time paused for a second before shrugging. “Probably.”

Sky raised his head to look at Time. “Huh? I mean, maybe if Malon was…” Sky stopped and looked at Time. “No way!”

Time laughed, but nodded. “Yes way.”

Sky gripped Time’s shoulders, put his head on Time’s chest. “How do you both hide it so well! I know Legend was side eyeing me all day. I swear everyone knows because of today!”

“Or maybe it was the chest scars you showed us when we were playing in the river. You know, with the cucco fighting?”

Sky paused for a second. Then he raised his head to look Time in the eyes. “I completely forgot about that.”

Time chuckled. “How do you forget about top surgery?”

“I mean,” Sky reasoned, “It’s been years since. I guess I just forgot that I had boobs.”

Time hummed then he looked up. “Go wake up Warriors, it’s his turn for watch. Well, you technically skipped his watch, but he’s still going tonight.”

“I didn’t skip his watch! It’s-“ Sky looked up at the moon and saw that it was around three or four in the morning. “Oh.”

Time pat Sky’s back. “Go wake him up.”

“Yeah.”

[zahri-melitor]

Wonder Woman by Messner-Loebs (#63-#100, #0)

Well. That was A Lot.

This is a difficult run to read, and not just because it backs up straight off George Perez’s iconic run. It’s a slog with writing that is painfully outdated and that will throw you out of the story if you’re not paying attention.

It’s very much a run in which I feel one of the biggest problems is that it’s written by a man who wants to believe that women have interiority and motivations, but is hopelessly out of touch with what actual real life women think and believe and act. Interesting concepts, poor execution. I have to believe he didn’t understand the sheer level of all the misogyny he portrayed characters as experiencing, and that he thought it was a good power fantasy to see those women overcoming that systemic and specific misogyny.

Let’s get into the good aspects.

Christopher Priest gets a two-part story (#88-89), which is used to bring Circe (in her traditional appearance) out to explain why Themyscira has been missing for the whole run so far and what happened. I quite enjoy Priest’s writing and this story had enough twists to it to be interesting, but also leaned into an aspect I love seeing pop up in Wonder Woman stories…the inevitability of fate and prophecy. Circe promises Diana that she will restore Themyscira…but Diana must sacrifice an innocent’s life. The story tangles with this well. Truly a lovely little tension release in the run, and shifted the story arc from the first 25 issues over to the last dozen.

Circe as the overarching big bad of the whole run is actually a good shout. Circe’s a manipulator, and having a run where she’s pulling the strings all over the place while also cosying up to Diana in disguise is quite fun.

On that vein…honestly I enjoyed all the ‘Donna Milton’ stuff, despite how much I was ragging it as I read it. Someone taking advantage of Diana’s trust in that way was a betrayal, but you can also see her affected by the role she took on. Also it was just really funny to offset Ares being so hamhanded about his incarnation in comparison. Plus, the existence of Lyta Milton is going to pay off into the future.

While I’m STILL going on about Circe: it’s fascinating to me that multiple of Diana’s female villains not only want to bang her but are compelled to be friends with her, even as they also run around being evil. Like it’s a lovely redemption arc for the 30 seconds it will be permanent.

I don’t hate the idea of The Contest, and it’s one of the better conceptualised stories across the whole run. The concept (has Diana lost her skill and her direction compared to the wishes of the Amazons? How does she compare to champions of Bana-Mighdall? What is the direction that the Amazons should be pursuing in Man’s World?) has a lot to chew on and Artemis as a character does a fair chunk of rehab to the concept behind Bana-Mighdall and moving it into a part of the mythology that writers can actually use, rather than being the racist stereotype Perez created. There are additional valid reasons for the Banas to feel betrayed, and Herakles screwed over both Amazon tribes (Unfortunately at the expense of Hippolyta’s characterisation, but she’s all over the place in this run). The execution however, didn’t measure up to the concepts.

Things I think didn’t work:

The run had three overarching arcs that I think can be approximately broken down into: the space pirate arc; Ares and ‘Donna Milton’ screw with Diana’s life; Artemis as Wonder Woman. They’re not really coherent with each other? Stuff that was happening in one arc just gets dropped and ignored to move onto the next arc.

I think Messner-Loebs had a vision of taking Diana down to see the gritty hardship and violence of women’s lives. Unfortunately, I don’t think that particularly worked as a run for Wonder Woman. It’s a book that at its best is imbued with hope and connections to mythology and epic plots, rather than street-level storylines. Diana running around worrying about paying her bills and working in a fast food restaurant and for a private investigator taking on cases like shaking down men for unpaid child support? I had Common People by Pulp running though my head the whole time. I do like Diana to be concerned with even small scale problems and outraged by institutional sexism. I don’t think this was the right approach to show it.

Then there was the way Messner-Loebs contrasted this with Artemis, by using Artemis as a foil to say “you can’t just go out and beat up institutional sexism and misogyny, the work is harder than punching people in the face and declaring that women should be strong!” Thank you, Messner-Loebs, we really needed that strawman created for Artemis as a character. Artemis and her plot once she leaves Themyscira is just a series of take that strawmen using some very 90s plot ideas (not helped by Deodato literally drawing the sort of Image Comics villains that it is railing against, and giving them stupid names). It’s a very, very blantantly obvious, Captain Planet sort of approach to ‘why are women treated differently to men’ and it needed a lot more subtlety and interrogation of the concepts involved.

Messner-Loebs is also struggling with the fact that he simply doesn’t have the language or conception to describe a lot of the feminist and queer themes he is playing around with. There are several storylines or offhand comments that, were they written today, would be explicit trans storylines or discussions of intersexuality and assigned gender, but in what we get, written in the early nineties? It’s stereotypes about what makes someone flamboyantly gay, or ‘secretly’ female.

Downsides of the run:-

Mike Deodato Jr’s art. It’s everything people rag on about 90s art. He’s not Rob Liefeld, but that’s almost worse, because as I’ve said previously, Liefeld basically only does Hawk & Dove work for DC (with an occasional foray into Deathstroke and ‘projects Jeph Loeb asked all his friends to contribute to’), while Deodato here is getting to draw DOZENS of women and particularly Amazons in that extremely Image House Style way. Not a lot of internal organs, a lot of wedgies. I suppose he was picked for the end arc in that his art style played with the messages Messner-Loebs was trying to convey (“stereotypes bad! Image Comics villains silly! Feminism involves hard work!”) but is let down by the fact that, yanno, all the characters are drawn in that style.

Messner-Loebs just forgetting what his plot involving Cheetah was. At the start of the run, he banished Barbara Minerva into a demon dimension. She then reappears right near the end of the run, with the extremely boring villain I have avoided mentioning this entire write up (sorry, Asquith Randolph is SO dull) having pulled her back and…sent her out to attack Diana? Caged her? Great work there Messner-Loebs, no notes.

Just so much blatant misogyny and violence against women, and the way Diana and Artemis were portrayed as fighting it was nowhere near sufficient catharsis for putting me through reading it.

Do I think you should read this run?

Hmm, it depends. It’s an interesting introduction to Artemis and is probably important context to know about her for any story going forwards. I can see how the Donna Milton stuff is going to pay off in the future when other people draw out the storyline built in here. The choice of classic villains in this run is actually solid. Dr Psycho’s appropriately horribly creepy, Circe’s turn is triumphant, Ares is causing problems, Cheetah is sympathetic but wrong in all the right ways. On the other hand, we start with the process of fridging the Kapatelis family, it’s just chock full of storylines that you stare at going ‘why is this HERE?’, it tends to pick up an idea, play with it and then drop it without pulling it back to develop a theme, it gets bogged down in feminist concepts that were outdated even for the early 90s, and it just felt unpleasant to read. This is some storytelling that desperately needed a woman in the room to consult and talk ideas over with, and as close as they got was the colourist.

[houseofpendragons]

Gwayne Hightower (targwh0re's version)

the son of Otto Hightower and his wife, the Lady Helena Cuy

younger brother to Alicent

has no desire to marry whatsoever bc he knows that if he ever does it will be for his father advantage and not for love. He also fears that if he did find love some terrible accident would happen to take that person away from him like it did his mother

was a complete mama's boy

Alicent may look like their mother but Gwayne acts like his mother through and through which gives Otto trouble when interacting with him bc it's just so hard

Alicent picks at her cuticles and Gwayne digs his nails into his skin and will hit himself

alicent becomes a mother figure to him after the death of their mother

joins the city watch after daemon is banished the first time because Daemon refused him while he was there out of animosity towards Otto (even though Gwayne secretly looked up to him as a fighter)

always wears his sisters favor and get quite jealous when she chooses ser criston over him to be her champion

his sword is called cobalt equilibrium (or just equilibrium) bc it brings him a sort of peace and comfort and often in times of anxiety and self doubt he'll touch the hilt and it helps calm him down.

Feels awkward when interacting with anyone other than family (except Otto) bc he constantly feels like his father is watching him and that he'll do something wrong and disappointment him (though he tries to force himself to appear normal by mimicking other people's mannerisms

Ex. Hunches over subconsciously/closes himself off when speaking, has trouble maintaining eye contact, has trouble putting things into words

has trouble making friends

hyper aware

dislikes change so he was very distressed when his mother dies

has a tendency to repeat himself, or repeat words or phrases back to people or books

impulsive and somewhat self-destructive behavior

tends to be overly agreeable

trouble reading social cues

he never takes anything seriously much to Alicent and Otto's frustration but in reality he uses jokes and mischeif to hide his pain

he's the fun uncle who goes drinking with Aegon and takes him to his first brothel

anytime he sees a bug he gently picks it up and brings it to Helaena

could spend hours talking with Aemond about history since it's a bit of an obsession of Gwayne's

he actually trains Daeron to fight and frequently writes letters back and forth with him from Oldtown

he's who the children always run to when something happens whether it be bad, good, sad, angry, happy he always listens intently and gets dramatically excited, sympathetic, tries to comfort them, and or offer them the best advice

he gives the children all the love they need. He'll be their father figure, their mother figure, or the fun loving uncle. Whatever they need he'll be it.

Aemond was Alicent's secret (not so secret) favorite child bc when he was a kid he reminded her so much of Gwayne that she liked to pretend that this wasn't her son but her little brother

feels a constant need to prove himself but is also overcome with this desire to be himself (basically his father in one ear and his mother in the other)

pretends to be cocky and confident when really he's a ball of walking anxiety

loves to fight in tourneys and melees etc. bc it's a way to express himself and pet out any pent up rage

is religious and devoted to the Seven but he doesn't show it

gwayne is always sort of disheveled with wind swept hair bc he's constantly having to run bc he's always late

he and Alicent feel like they only have one another and he becomes one of her closest confidants after Rhaenyra and her begin feuding (though she gets conflicted and keeps things from him sometimes bc she still has this overwhelming urge to sheild and protect him which makes him angry sometimes)

he doesn't want aegon to be King and actually puts forth the idea of Aemond instead since the boy clearly wants it and would be better prepared but is promptly ignored.

Aegon is secretly his favorite because he recognizes the pressure he feels and the self distrctive measures he takes as both an escape and a cry for help

Hates crying and get angry at himself when he does bc Otto drilled into him that it made him weak, embarrassing, and unmannley

This was alot and all over the place and I'm sure I'll think of more latter, but for now enjoy

[tokiro07]

Did a Medaka vs. Andy post a while back, now it's time for Hitoyoshi vs. Fuuko

First off, I think it's important to establish what everyone's working with:

We'll be assuming they're at their peak, so L101 Fuuko and post-Ajimu Hitoyoshi

Fuuko's got G-Liner, her two guns, and 200+ years of Shin Hakkyoku experience

Hitoyoshi has up to 20 years of Savate experience, Devil Style and Altered God Mode: Model Zenkichi, but consequently does not have Parasite Seeing, as it was changed from a skill that let him see from other's perspectives into a skill that lets him see his own limitations. He also does not have access to Contradictory Conjunction Style, as that was a temporary ability that he was essentially borrowing

With this in mind, I think we can get a good idea of the flow of the battle

As demonstrated in his fight with Munakata, Hitoyoshi is skilled in disarming and dismantling guns, so we can reasonably assume that the moment Fuuko brings out the guns, she's losing them

Hitoyoshi is able to keep up with Medaka physically, who we can reasonably assume is above world-champion-level fighters given The End, so even if he needs to use AGM match her actual strength, Hitoyoshi should feasibly be able to fight on par with Fuuko, who is able to defeat world-champion boxers and kung-fu masters

If their physiology and technique lead to a stalemate, the battle comes down to their powers - Unluck vs. Devil Style

Immediately, Devil Style counters Unluck by negating Hitoyoshi's luck preemptively: under its effects, no good or bad luck can occur around Hitoyoshi, meaning that no matter how much affect Fuuko feels for him, there will not coincidentally be a source of Unluck to draw in

Even if there was, the current interpretation of Unluck is that it takes away the luck that a person has within them; if Hitoyoshi has "zero" luck rather than, say, 10 luck to prevent disasters, then his existing luck cannot be taken away and he cannot be made vulnerable to the disasters summoned by Fuuko

However, if Fuuko were to realize that Hitoyoshi's view of luck is "good luck=positive, bad luck=negative" rather than her interpretation of "good luck = >1, bad luck = 0," she could theoretically use Unluck to drag Hitoyoshi into the negative

Moreover, since Devil Style merely prevents acts of fate, it has no impact on the direct results of deliberate actions - in other words, if Fuuko does not rely on the random factor of Unluck and instead sets up a specific sequence of Unlucky events to draw in, then her efforts to enforce Unluck on Hitoyoshi will be rewarded so long as he himself is unable to thwart them

While this makes Unluck like meteors or earthquakes much more difficult if not impossible, it makes sources like slipping on liquids that Fuuko purposefully spilled in the vicinity very plausible and simple to execute so long as she already has access to them

Of course, we have to consider Hitoyoshi's interpretation of Unluck as well - if Fuuko's efforts to draw in Unluck are to be rewarded, then the mere existence of meteors should make them something that she can reasonably incorporate into her strategies. Since Hitoyoshi isn't the type to accept a handicap in a fight, he would likely never deliberately prevent Fuuko from fighting to her full capacity. He may need to learn the mechanics first to allow it to happen, but since Devil Style is meant to be a way for him to prove that he's capable of overcoming foes on his own and without relying on nebulous concepts like fate, then defeating an enemy who manipulates fate would be the ultimate proof of his fighting abilities

From there, it's just a question of what the writer in question wants: do they want Fuuko's ability to understand others to win the day, or Hitoyoshi's ability to overcome any obstacle under his own power? Either way, it's unavoidable that by the end, Fuuko's Unluck would be in full swing, it's just a matter of whether Hitoyoshi can personally find a way to avoid it. Perhaps he'd manipulate Fuuko's Unluck against her, deliberately taking a second dose to summon another meteor that would collide with the first and destroy them both?

Again, like with Medaka vs. Andy, pick your favorite to win, but know that in my head, they both come out of it as friends because of how hard they pushed each other

[trapangeles]

James Earl Jones: A Legacy That Changed the Face and Voice of Entertainment

James Earl Jones, one of the most celebrated and influential figures in entertainment history, has left a lasting mark on Hollywood and beyond. Known for his booming baritone voice and commanding screen presence, Jones's career spans over six decades, making him a towering figure in both film and theater. From iconic roles like Darth Vader in Star Wars to Mufasa in The Lion King, James Earl Jones’s contributions have transcended generations, cementing his legacy as a true legend.

Early Life and Challenges

Born on January 17, 1931, in Arkabutla, Mississippi, James Earl Jones had a challenging childhood. He was raised by his grandparents after his father left, and, perhaps surprisingly, the man who would come to have one of the most recognizable voices in the world suffered from a severe stutter in his early years. Jones was so insecure about his speech that he remained almost entirely mute throughout much of his childhood.

However, through perseverance and the help of a teacher who encouraged him to recite poetry aloud, Jones found his voice—literally. This formative experience not only allowed him to overcome his stutter but also helped shape the future titan of theater and film we know today. His voice would later become one of the most powerful symbols of authority, wisdom, and fear across generations of moviegoers.

Breaking Barriers in Hollywood and Broadway

Jones’s acting career kicked off on the stage in the 1950s, earning critical acclaim for his performances in Shakespearean roles like Othello and King Lear. By the 1960s, he had already begun to make a name for himself on Broadway, where he showcased his immense talent and commanding presence in plays like The Great White Hope. His portrayal of boxer Jack Johnson in the play earned him a Tony Award, putting him on the radar as one of the finest actors of his generation.

While Jones’s work on stage was groundbreaking, his transition to Hollywood marked a new era for Black actors. In a time when opportunities were limited and stereotypes prevailed, Jones stood as a trailblazer, breaking racial barriers and proving that Black actors could excel in leading roles. His early performances in films like Dr. Strangelove (1964) and The Comedians (1967) showcased his range, setting the tone for a storied film career.

The Voice That Changed Pop Culture: Darth Vader

It’s impossible to talk about James Earl Jones without mentioning his role as the voice of one of the most feared and iconic villains in cinematic history: Darth Vader. George Lucas tapped Jones to provide the voice for the menacing Sith Lord in Star Wars (1977), and with that single role, Jones changed the course of pop culture.

While he never physically appeared on screen in the role, his voice performance as Darth Vader has become one of the most legendary in movie history. The deep, authoritative tone Jones gave to the character added layers of complexity to Vader, making him not just a villain but a deeply conflicted, tragic figure. This role solidified Jones’s place in Hollywood and earned him a permanent spot in the hearts of sci-fi fans everywhere.

Mufasa: The King of Pride Rock

If Darth Vader made James Earl Jones an icon, Mufasa in The Lion King (1994) made him an eternal legend. His portrayal of the wise, fatherly lion brought emotional depth to Disney's animated classic, and his delivery of lines like "Remember who you are" has resonated with millions of fans worldwide.

Jones’s performance as Mufasa became symbolic of strength, wisdom, and leadership, not only in the film but in broader conversations about fatherhood and Black masculinity. The role reinforced his legacy as a performer who could inspire and move audiences with his voice alone.

A Champion for Representation

Beyond his iconic roles, James Earl Jones was a pioneer for Black actors in an industry that historically marginalized them. He consistently advocated for diversity and representation in Hollywood and was unafraid to speak out against the systemic racism that plagued the industry. His success served as a beacon of hope for countless young Black actors aspiring to make it in the entertainment world.

Jones’s impact wasn’t just about breaking barriers—he did it with a sense of dignity and humility that resonated with fans across all walks of life. His success showed that Black actors could lead major Hollywood productions, opening the door for future generations of stars to follow in his footsteps.

Awards and Accolades

Over the course of his illustrious career, James Earl Jones received numerous awards and accolades. He won two Tony Awards, an Academy Honorary Award, a Golden Globe, and three Emmy Awards. His status as a cultural icon was further solidified when he received the Kennedy Center Honor in 2002 and the Screen Actors Guild Life Achievement Award in 2009.

In addition to these accolades, Jones was inducted into the American Theater Hall of Fame and received a lifetime achievement award from the Voice Arts Awards. His powerful voice, versatility, and wide-ranging performances made him a beloved figure, earning him respect and admiration from audiences and his peers alike.

Legacy in Urban Entertainment

James Earl Jones didn’t just dominate mainstream Hollywood—his contributions extended into urban entertainment spaces as well. For generations, his voice and performances have been celebrated in Black communities, where he’s seen not only as a symbol of Black excellence but as a figure who transcends race.

From his roles in films that tackled racial issues like The Great White Hope to his regal presence in projects that celebrated Black culture, Jones was committed to telling stories that mattered. His influence can be felt in the work of contemporary Black actors and filmmakers who continue to draw inspiration from his legacy.

The Final Curtain Call

The passing of James Earl Jones marks the end of an era. Few actors have had the range, the longevity, or the impact that he did. His ability to command a room—whether on stage or through the screen—was unparalleled. His voice will forever echo in some of the most iconic moments in film history, and his legacy will live on through the actors and creators he inspired.

In a world where representation and authenticity matter more than ever, James Earl Jones’s career serves as a reminder of what’s possible when talent, determination, and resilience come together. He was more than an actor—he was a cultural force, and his contributions to entertainment will be remembered for generations to come.

Rest in power, James Earl Jones. Your voice will never be forgotten.

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[running-with-the-feels]

Hey i have a question and you're the only person that will probably be able to do this, so in the first timeline Hanzo decides to protect Kuai to atone for Bi-Han's murder but like, why? Bi-Han had killed Hanzo, Hanzo kill Bi-Han as revenge...

I really can't see why Hanzo would do that to Kuai, did Hanzo felt guilty after he meet the younger subzero? I really wanna make senses of this but i can't

I'm not super familiar with the first timeline, so apologies in advance for any errors I make.

But, as far as I understand:

Hanzo wasn't looking to avenge his own death, but the massacre of his clan, which he didn't find out had happened until after his death and resurrection. Both of which he blamed and murdered Bi-Han for but it turned out that Quan Chi was responsible for that instead.

As a result, Hanzo felt incredibly ashamed of taking the only family Kuai Liang had left away from him. He also is caught off guard by Kuai Liang showing mercy to one of his opponents, something he'd never seen a Lin Kuei do before, and views him as an honorable warrior worthy of his respect.

Honestly, (and this is just a personal opinion so it might be very wrong bc again, idk much about this timeline) I don't think Hanzo much cared that Bi-han had killed him back in mythologies, bc that was in standard kombat. They were both trying to kill each other and Bi-Han just happened to be the one who came out on top, so Hanzo didn't really hold. agrudge (he didn't like it, but he wasn't overcome with rage) what bothered him was the death of his family and clan

Then, Quan Chi tricks him again later by saying that Kuai Liang killed his wife and child during the massacre and Hanzo very nearly does until he trips up and Hanzo finds out the truth, trapping them both in the Netherrealm and torturing Quan Chi until Quan Chi manages to get free

Then, Hanzo almost dies and meets the elder gods, making a deal with them to return his clan to life in exchange for him acting as their champion which they do hold up their end of that deal............except they bring the Shirai Ryu backas basically zombies and not really ppl which is a dick move so he sides with Taven and Daegon and ends up getting killed by Sub-Zero

So, while he does make a vow to protect Kuai Liang out of guilt and the understanding that he had killed the wrong man, that vow doesn't actually last very long before getting ignored in favor of Hanzo seeking out his revenge against Quan Chi and later the elder gods.

Side note, Hanzo and Kuai Liang facing off in Armageddon would make for an Excellent subscorp fic full of angst and a possible reincarnation plotline (like when they meet in the new timeline they start to remember one another from the old one) and now I need to add that to my prompts list too

hopefully that answers your question and if there is anything I have gotten wrong, please let me know!