#why are we mad about that

[tiny-huts]

I completely agree that larian needs to add so much more Wyll content but OTHER THAN THAT I think people are really getting mad at some stupid shit in relation to this patch

[daftmooncretin]

spock’s room decor is actually fucking bonkers. The weapons??? the big red velvet curtain??? like ok phantom of the opera go crazy.

for reference jim’s room has some photos and a plant so we can surmise this is uniquely a spock being a dramatic weirdo thing

[francy-sketches]

Whenever people talk about lack of media literacy they always bring up people who think a character doing bad things=the author endorsing said bad things which are very annoying but I feel like we're ignoring the opposite, equally annoying side of the discourse who think if you criticize the inclusion/depiction of dark/sensitive topics in any way it’s bc you’re a dumb baby who can’t separate fiction from reality. and it's like no I know I’m not supposed to clap and cheer at violence against women I’m criticizing how much of it there is. Idiot

[saltedbiscuiit]

I preordered the new bsd wan figures and tried to draw their expressions lol

[jimjamjomjum]

Be right back.

[sittinginsunflowers]

I can’t stop thinking about how every parental figure in Kristen’s life has failed her by prioritizing their other kids.

Obviously, her bio parents are racist assholes who raised her in a fundamentalist cult, and kicked out at 15, all because her parents were offended she was “taking her friends’ side over theirs.” Which she didn’t, what she did was ask for answers and tell them that Daybreak tried to kill her but they refused to believe her. Instead, they chose to make her homeless so she doesn’t spread the idea that her parents don’t know everything. Two years later, and they’re still doing the same thing at the diner.

Then there’s Jawbone and he’s Tracker’s guardian, and unlike Adaine, she didn’t get a speech about how he’d take her in, or what their relationship was, she just moved in with her girlfriend, and he was the adult of the house. And now that she and Tracker have broken up, he and Sandra Lynn don’t seem to have made the time to talk to her about what that means for her place in this family. Adaine came back from spring break to gifts for every birthday she had without Jawbone and adoption papers. Kristen’s mail from her school was going to her parents’ house when she lives with the guidance counselor.

Then, there’s the fact that when Sandra Lynn and Jawbone moved in together, she took on a role she clearly wasn’t ready for, as she was still repairing her relationship with Fig. Kristen had to be the one to finally snap her out of her self destructive spiral with Garthy and then Sandra Lynn asked her to keep it a secret. Meaning she wouldn’t be able to tell Tracker, the only person who has been meeting her emotional and physical safety needs, above just giving her a room to live in. (And we know this is true because part of the reason Nara and Tracker are together is because Nara doesn’t need those things from Tracker). And yes, Sandra Lynn apologizes to the whole group, as she should, for putting their home in jeopardy, which is a massive step. But she never talks to Kristen about putting her between the 3 people responsible for keeping her out of her parent’s house.

So Sandra Lynn calls Fig, “her only daughter in the world,” and Jawbone is only legally responsible for Adaine and Tracker, and neither of them, nor any other adult, has asked if Kristen feels safe or if she’s okay. Like I’m sorry, who the fuck is taking care of the cleric who’s god and teacher died in the same year, is going through deprogramming from a cult that wants her back, her first breakup, seeing her estranged parents and siblings again, and now being expelled on zero grounds despite working herself to the bone to make sure her party gets to go to college?

[coatl-cuddles]

" WIP DELETE LATER 🤪🤪🤪" ok who gaf?

[tarysande]

Mass Effect 2: The Case for the Heroine's Journey

I have a theory. And I think it's something others--especially other storytellers--might find interesting. It explains why some people absolutely adore Mass Effect 2 while others (not as many, in my experience!) think dealing with all the companions and their personal quests is boring or irrelevant.

What it boils down to is the difference between the Hero's Journey and the Heroine's Journey. There a couple of takes on the Heroine's Journey (ranging from more philosophical and psychoanalytical to more story-based), and I'm going to be pulling hard from the story-based iteration, which author Gail Carriger has written a fabulous book about. I highly recommend it.

One thing I want to mention right off the bat: the gender, sex, or sexuality of your protagonist has nothing to do with whether they're a hero or a heroine.

Everyone and their dog knows the Hero's Journey. A literal ton of writing advice refers to the Hero's Journey as if it's the be-all and end-all of narrative (thanks Carl Jung, Joseph Campbell, and Christopher Vogler); it ain't called the monomyth for nothing.

But if a part of you grits your teeth every time it gets trotted out as The One Right Way to tell a story that sells or a story people love, you may have your mind blown by the concept of the Heroine's Journey. Every single one of you who tingles with excitement at the very thought of found family (or romance, for that matter)? Yeah, strap in, we're going for a ride.

I don't want to go into a lot of detail about the Hero's Journey; it's everywhere. You know it even if you don't realize you know it. So for brevity's sake, I'll give you wikipedia's one-sentence description: a hero goes on an adventure, is victorious in a decisive crisis, and comes home changed or transformed. Luke Skywalker. Everyone always talks about Luke Skywalker. And on the surface, Mass Effect could seem like a Hero's Journey, right?

According to Gail, a Hero's Journey boils down to

A repeated pattern of withdrawal and return, and those withdrawals are voluntary, as voluntary withdrawal and increased isolation yields self-reliant strength.

Victory is in isolation and asking for help is bad.

But looking at it (especially ME2) through the lens of the Heroine's Journey is where it gets interesting.

This is the infographic Gail created and supplies on her website:

In her book, Gail notes that not every element has to be present to qualify a story as a Hero/Heroine's Journey and the events don't have to happen specifically in this order.

In the Heroine's Journey

The heroine's withdrawal is involuntary; something is broken and she must abdicate the power she had in order to rebuild, retrieve, or reunite with what was taken or broken.

Victory is a group effort; asking for help is a sign of strength; and the protagonist realizes that while she can't do everything herself, she has surrounded herself with people whose skills she can effectively deploy.

In the Heroine's Journey, the DESCENT is involuntary. Something is done to her or taken from her, and it breaks her familial network.

In ME2, obviously, uh, the thing that's taken from Shepard is her own life. Of course, instead of that being the end of the story, it's the inciting incident that leads to the involuntary withdrawal from her found family on the Normandy, her connection to the Alliance, and her Spectre status. Her home is literally destroyed. And then, kinda hilariously, she wakes up in the literal underworld. You know. Cerberus, dog that guards the gates of Hades?

I play a very Paragon Shepard and haven't played Renegade, so I can't speak to that. However, I can tell you that my Paragon Shep wakes up working for Cerberus and promptly proceeds to gain more Renegade points in the first couple of missions--hell, the first couple of conversations with Miranda, Jacob, and TIM--than she got in all of ME1.

Jacob: Do you trust me, Shepard? Shepard: NO, omg.

I've probably played ME2 five or six times with this Shepard, and she always strikes me as a bit off, a bit manic even, until she sees Tali. And she doesn't really start to settle or feel like herself until Archangel takes off his helmet, believes she is who she says she is, and without hesitation agrees to follow her into hell.

(As the protagonist in his own story, Garrus is also a heroine on a Heroine's Journey, by the by. Shepard's death breaks his network; C-Sec and the Council's denial of the Reapers leads to his abdication of power in the hunt for justice. His underworld is Omega. He puts together a surrogate family to fight injustice; he learns to delegate; he doesn't do it for glory... And then Sidonis's betrayal breaks the new family and sends him on another cycle. My theory, however, is that if you let him kill Sidonis, his journey takes on the revenge aspect of a Hero's Journey instead of the family and reunification structure of a Heroine's Journey.)

In ME2, the arc of recruiting an ally, earning their loyalty, and deploying their suggestions to improve the entire team's chances of survival is repeated over and over; this is the SEARCH of the cycle. And anyone who's ever tried to race their way through ME2 without doing all those loyalty missions or without scanning all those planets for resources finds out pretty quick why they're important.

So, while you potentially could race through ME1 without even recruiting several teammates (did you even know you can play that game without recruiting Garrus???), thereby making it much more of a Hero's Journey of the Strength of the Individual, you really can't do that in ME2 without massive casualties. You need the people around you. You need to build relationships. And you need to learn to delegate well, or things will absolutely fall apart during the end run.

Even the stated mission of ME2 is more Heroine's Journey. You're not fighting for glory; in fact, most of the people who used to be in awe of you now think you're a crazy terrorist. You're fighting to stop what's happening to human colonists.

The end run is so satisfying specifically because it leans in to the Heroine's Journey of information gathering and network building. You cannot beat the game as a solitary soldier. You cannot achieve a good outcome--minimal deaths, etc.--without having spent a lot of time and effort gaining the loyalty of your crew and then knowing how to deploy them to best serve the whole team.

ME2 is a story about finding and building a family after the last one is broken.

And though it's a whole other can of worms, I actually think the reason why the ending of ME3 was ultimately so unsatisfying for so many (again, not all) is because the majority of the game is once again a Heroine's Journey--team building and information gathering across the galaxy--but the endgame pulls the expected narrative out from under you. Instead of actually using the resources you've so carefully built, you're quite literally beamed up into complete isolation (weakness) and left to make a choice in isolation. It breaks the narrative promise that's been set up since the beginning of the game. And, whether you realize it or not, that's a huge part of why that lonely choice feels so hollow. Instead of a structured reunion and a rebuilt network, it's actually the broken family and involuntary descent that heralds the beginning of a new Heroine's Journey--not the the end of a successful one.

Also, incidentally? It's Heroine's Journeys that usually get satisfying instead of distracting-the-hero-from-his-real-mission romance, banter, fully realized side characters, and humor.

[cobaltfluff]

a few more heartsteel crossover doodles.. this time of the Oh They're Boyfriends variety :3c

[deimosatellite]

like idk it just seems actually nefarious to take one of the very few widely known instances of queerness in older history being a symbol to show queer people that we've always existed and aren't alone for CENTURIES and taking away the queerness from it. like. i know some people say that ''the queerness isnt important in the book" which i mean in my opinion i could go off for 10k words in an essay as to how basil's love for dorian is integral to the story BUT EVEN APART from that its really just. having a real explicitly queer character in such an old and widely regarded classic novel is HUGE for queer history and this is just. literally like. its 2024. why are you doing queer erasure to DORIAN GRAY

[dootznbootz]

Fascinating how Polites, the character who is the personification of Odysseus' optimism and is only in 5 songs, is more grieved and appreciated than Eurylochus, a character who is his own person and is in 11 songs.

[moeblob]

A lil guy !

[dykedvonte]

No cause it's actually so funny that because Curly doesn't like sweets.

His friends (including Jimmy) were like "damn he wont like a normal cake what do we do?" and remembered he likes to work out so they went to like the Walmart health section and just threw protein powered in with the least sweet cake mix and were like "Dude... we fucking did it!!!"

Happy Birthday!!!

Like it makes the firing party scene a little bit sadder cause he chose his birthday of all days in that week to break the news. His friend berates him and tries to get everyone against him. He has to make his own cake due to protocols and even then he's just picking at the slice because it's not something he cares for. Not that he'd have an appetite for it anyway. Everyone is mostly silent and all he's can do and stare at this cake and think of what else could go wrong...

Happy Birthday indeed.

[tsukasalover]

it’s kinda stupid to call rui “sassy” or say he was acting “mean” for simply doing what any person would do realistically after tsukasa humiliated nene in the main story. i swear this fandom has gone over this a thousand times and yet for some reason it’s still so hard for people to accept that tsukasa was being a self centered asshole. that’s not even exaggerating anything that’s just the truth.

btw (if im wrong correct me) but rui has never gotten angry at someone unreasonably he’s actually quite mature and doesn’t just?? explode over things so i dont know why him refusing to work with tsukasa even after nene forgave him is seen as a “mean” thing… let’s not forget he still believed tsukasa hadnt changed at all and only wanted to be in shows for selfish purposes. it’s not bad to admit that tsukasa is egotistical and has acted much more mean in unacceptable ways than rui + has had to own up to this and work hard to grow as a person over time

[ominous-horse-noises]

main takeaway from certain fan reactions to the finale is this:

the final scene with ankarna was so meaningful to the bad kids' arcs and how they made peace with being wronged by people they loved, and if all you can focus on is that the rat grinders didn't get much screentime, then you don't love dimension20 and you don't love this world: you want to be playing your own hs themed dnd campaign and you're mad the oc versions of the rat grinders you made up in your head acted ooc. these are not your characters and this is not their story.

[lana-del-rhaena]

“elia didn’t really serve any purpose, why do people care so much about her” in just the first book ned dies because he chose to warn cersei instead of letting her and her kids die the way elia and hers did. he went against robert because he was so haunted by the atrocities elia witnessed and suffered.

elia will always matter, she will continue to haunt the narrative and you can die mad about it