#without negatively impacting that character's storyline

[blairwld]

I'm not sure of the timeline but I'm pretty sure Ginnifer Goodwin is pregnant ;)

[dead-enby-detective]

To continue my comparison of the Dead Boy Detective show and the Doom Patrol episode with them in it, I wanted to talk about the exploration of Charles’s aversion/fear of water in Doom Patrol, I thought that was an interesting way to give him some more depth in the short time frame (especially since we get to see more of Edwin’s depth with his pain being used to open the door to the afterlife and Larry reaching out to him to discuss his feelings for Charles).

In the scene above Charles has to work himself up quite a bit in order to cross the lake and continue their case.

DBD Charles, in comparison, doesn’t seem to feel the same way about water.

In episode 2, he’s delighted by the enchanted ocean container.

In episode four, he even calls the view “pretty brills” while staring out into the ocean.

He doesn’t hesitate to run to Crystal when she’s dangling over the ocean.

He walks on the ocean side later (probably partially to ensure she doesn’t try to throw herself into the ocean) and even walks toward the water without any fear.

And when the Night Nurse has him relive his memories she sends him to the lake.

To me he seems more confused, maybe frightened because he doesn’t know where he is or what’s going on and than is far more scared when he gets attacked by the boys again rather than afraid of the water itself.

Then after the Night Nurse lectures him he’s angry,

and willing submerges himself to get away.

Then when he returns he, in his anger, sends her over the wall into the water.

To me, if he was afraid of the water, he’d be less likely to want to go towards it, or he’d at least hesitate before putting his plan into motion.

In my first post comparing and contrasting the Agency from the two show, I said the Doom Patrol Boys feel far less reactive to violence, especially their own. They doesn’t seem scared of it or using it themselves. But while DP Charles isn’t afraid of violence, though it did cause his death, he is afraid of water, which also played a role in his death.

In the DBD show Charles is scared of violence (especially his own) - as violence impacted him greatly in live with his abusive father and bullies but doesn’t seem to be of the water which also played a part in his death.

It’s very interesting to me which parts of his death the writers focused on for each show, the DP writers focused on the water/hypothermia and the DBD writers, the bullies.

As I said in my first post, obviously there’s far less time to explore the boys in the Doom Patrol episode than in the Dead Boy Detectives show so that absolutely could have been part of it.

I haven’t yet read the comics so I’m unsure which version of Charles’s fears is more accurate to the source material, if there’s an exploration of it at all.

It makes sense, in the Doom Patrol episode to show his fear of water. It naturally introduces his death, just as the door to the afterlife being opened by open naturally introduces Edwin’s experience in Hell.

The actor handles it really well. Just as the DBD actor handles his fear of violence really well. Both feel natural and important within the context of their shows.

Additionally, I tired looking up to see if Charles’s father was also abusive in the comics and I couldn’t find anything (please let me know if you know otherwise) and according to his wiki Charles actually died from burn injuries - though he did have to spent time in the icy lake as well.

So it’s definitely interesting that both shows focused on the hypothermia from the lake rather than the burns and it makes sense that if there’s isn’t a major storyline about his father in the comics that DP Charles has less negative feelings about violence than DBD Charles and thus, going back to my first post, reacts differently to it even though he too was bullied to death.

It’s incredibly interesting to me to see how the same character can be played/written in two very different ways based off the same source material and the ways the writers chose to focus on their traumas and fear differently.

What do you all think about how the shows chose to handle Charles’s fears?

[girl4music]

We really need to unpack how similar Gabrielle’s Dark future is to Xena’s Dark past and how Gabrielle walked freely into the Dark but was ultimately capable of not falling into the darkness even though she does go through a lot of what Xena went through. Xena lost her brother and that sent her down a spiral of violence and eventually all out bloodlust when betrayed by Caesar.

Gabrielle loses her entire family sans her sister, her husband, her own child (that she herself killed 3 times!) and yet she still remains good or in the Light. I’m not saying it doesn’t faze her or negatively impact her. It does in very irrevocable ways - but the fact is that she remained unmoved by it in the way that she never went down that same spiral of violence as Xena.

But the question is why? What makes her so special?

Maybe it’s not so much HER that’s special but rather the love Xena and Gabrielle shared that is. Perhaps the reason why she never fell into darkness is because the love she had for Xena - and in return - the love Xena had for her - is what kept her on the right path in life.

Which is poignant because Gabrielle did that for Xena too. She is what kept her on the straight and narrow.

So Xena was wrong. Gabrielle was better off with her because Gabrielle was always meant to be a warrior and was always meant to lose her blood innocence.

So if she was without Xena, she would have spiralled because there’s no justifiable reason for her not to.

As I said - she’s not special so she’s not shielded from darkness or that of the consequences of falling into darkness. It’s probably just because love was her Light and that had far more of a grip on to her than the Dark.

A written thematic narrative like this would be too much if not for the way Lucy and Renee portrayed it as leading characters. Allowing their characters’ relationship to ebb and flow naturally and organically through the characterization and the story being told.

See what I mean about how it all HITS better as a love story? Everything in the show feels more valuable. The romantic aspect doesn’t ruin the show, it enhances it because the love between them is the heart of it and the main driving force behind every narrative choice.

I wish more shows with WLW representation in did it this way because then it wouldn’t feel so contrived. It wouldn’t feel like it’s put there because it HAS TO be but rather - it’s put there because it feels right to be. They really did NAIL WLW representation in ‘Xena: Warrior Princess’ whether they realized they were providing it or not because they stayed focused on depicting two women in love BECAUSE OF the story and not in addition to it or despite it or regardless of it.

BECAUSE the story WORKS and HITS best that way or the individual character stuff doesn’t make sense. If not for the profound love between Xena and Gabrielle, how could either of them possibly have overcome and triumphed in their own individual character storylines? What possible justifiable reason would be for them to if not to fight for the love that they have for the other?

If there’s only ever one victory in this show it’s LOVE because there’s not a chance of any victory without it. Both these characters would be lost to the darkness without being a northern star to and for each other.

[bluedalahorse]

off the cuff thoughts about the differences between being public and being recognized

Don’t hate me but I’m actually really interested in what kinds of delicious narrative tension Young Royals 3 is going to play with when it comes to the Wilhelm/Simon relationship not just being something that happens openly but something that is public. As in, a relationship that has a public presence and meaning, that is going to be consumed by the public in some way and evaluated under public scrutiny. As in something that the palace may attempt to curate and spin a certain way for the public eye.

In my mind, being “public” is different than just being “recognized” or just being “together” in a way that the people around you can see. In a show that’s a little more “slice of life” like Heartstopper (hate to use this as the contrast example but it was the first thing that comes to mind) there’s a lot of emotional stakes to Nick and Charlie calling one another boyfriends, and then being boyfriends in front of their friends and family. And generally it’s positive when they can take these steps of being more recognized by the people around them, because it allows for a lot more emotional honesty, self-expression, and self-acceptance. It’s also historically significant, given the way that queer couples in previous periods of history have at times been forced to live in the shadows.

For Wilhelm and Simon there’s emotional stakes to being recognized as a couple, especially as they try to reclaim agency for themselves in the wake of being violently outed. Yet Wilhelm’s position as crown prince means there’s going to be political stakes as well, and for that reason they can’t be recognized without also being public. And it feels very much like this emotional threads and these political threads are in conflict. Whether they like it or not, Wilhelm and Simon are symbols. I do wonder if Kristina and some of her associates at the palace will choose to openly support Wilhelm and Simon’s relationship, but also express a lot of opinions about how that relationship gets styled and posed in photo ops. The monarchy could want Wilhelm and Simon’s relationship to be a sign of their progressiveness, showing that they can adapt to the times while still remaining one of Sweden’s constants. But I admit I would absolutely devour a storyline where this is called out for the calculating PR move that it is, and not just written off as a message about cozy acceptance.

I also think it’s interesting how this idea of the public image of relationships applies to other characters in the show. Public scrutiny is something we think of affecting queer relationships a lot, but it impacts other types of relationships as well. So let’s go into the girls’ arcs for a little bit…

Felice is constantly under scrutiny for how people perceive her relationships to Wilhelm and August, and she is consistently negatively impacted by social expectations around female gender roles. People gossip about her being a gold digger when Wilhelm kisses her, for instance, despite Wilhelm initiating. Alternately, I think a lot about the shift between Felice and August’s initial hookup in 1.3, where Felice is in a bad place emotionally but at least has some agency in her anger and rage, and some of Felice and August’s early public appearances, such as when the headmistress expresses approval of them together and says August looks happier. There’s subtext here about Hillerska being the place where high status boys and girls meet one another to eventually marry, and about women managing the emotions of the men they’re in relationships with. And, what does August yell at Felice for? For not holding his grief for him when he’s sad about Erik, of course, and holding emotional space for Wilhelm instead. He expects her to be managing his emotions. This is not just August’s general toxic douchery (although there is that) but like, what adults and public expectations have socialized into him from birth. Now, Felice and August’s relationship was never going to be functional to begin with and it’s pretty damn dysfunctional in private, but that public pressure to behave according to certain roles made things even worse between them. It trapped Felice, too, because of the expectations that she act like a Good Society Wife to whoever she’s in a relationship with and not challenge him. That’s why Felice’s public instagram blast is so important. It’s not just a fun moment, but one where she stops playing the Nice Girl and says openly how fed up she is.

Meanwhile, in season 2, Sara and August’s relationship doesn’t have quite the same kind of dysfunction. But I’m really struck by the anxiety and fear that hits Sara during the scene in 2.4, when she overhears August’s phone call to the palace and the plans for the next ten years of his life. When Sara and August fight at the ball, we can see how worried she is about the idea of her relationship with August being under the PR microscope. Not just because she’s in a relationship with the guy who exposed her brother and was pretty shitty to her best friend (although, there is very much that) but because of the nature of public scrutiny in general. Sara is already looking ahead to the endless slog of press conferences and curated social media feeds, and she knows August wouldn’t be able to protect her from that because he is the reason she’d be getting that attention in the first place. Wilhelm wasn’t able to protect Simon, after all. She’s also got her eye on how the threat of attention is affecting August, making note of how he’s turned to unprescribed ADHD medication to stay on his feet. I think it’s incredibly smart of Young Royals have the canonically autistic and ADHD character be so aware of the psychic toll it takes to present a public persona, and to recoil from that horror when it’s offered to her by the person she most desires. (I also think that’s exactly why an AU fic where Sara ends up in that public princess-consort-to-be role would be so damn interesting. I don’t think we’ve seen that kind of story with an explicitly AuDHD character and I would honestly just be fascinated.)

To bring this back around to Wilmon… I do not want to ignore the historical significance of a queer prince having a recognized queer relationship, and I do think that is something that can come with moments of joy and happiness that I will enjoy as an audience member. At the same time, I think given what this show has chosen to say about relationships serving a public function, especially in ways that reinforce the class system, I am practically salivating to see what kind of commentary we will get about how this relationship gets packaged for the public. What kind of PDA is acceptable to the press? What terms are Simon and Wilhelm allowed to use to refer to one another in interviews? What kinds of places are they allowed to be seen together? What hobbies can they pursue? What colors is a queer prince allowed to wear? Is the pink sweater Wilhelm’s sign of rebellion, or was it imposed on him by stylists because they thought it made him approachable and quirky and accepted by his parents, and Wilhelm found himself liking it in spite of the imposition? Does Simon feel he can reclaim a sense of his own image, or does he feel like he’s being curated into something he’s not? What if Simon’s ideas for his future conflict with those of the palace’s? What then? How do they find their real relationship with one another when the people around them are always attempting to craft one?

I also wonder what our role will be as audience. We have been watching Simon and Wilhelm’s story for three seasons now. Will the show challenge some of our assumptions about true love and authenticity? Will it call us out for our voyeurism? To what extent are we complicit with the public scrutiny that governs the lives of Hillerska students and the upper classes? I am so curious to find out what season 3 has to say about us, even if it takes the form of criticism we aren’t expecting.

[rebelumbrella46]

HOTD 2x03 "The Burning Mill" Thoughts

First off, I want to give a heads-up: this review might come across as more negative than positive. If that’s not what you’re looking for, consider this your warning. In my previous reviews, I've followed a structure focusing on Team Black and Team Green. However, this time, I'll break it down into three parts: The Good, The Bad, and The Absurd.

The Good...

The opening scene with the disagreement between Bracken and Blackwood was a strong start. It’s one of the few scenes in "House of the Dragon" that expands the world of Westeros beyond the central Targaryen power struggle. One of the things that "Game of Thrones" excelled at was creating a sense of a vast, intricate world, filled with diverse places, characters, and storylines. This complexity made the conflicts feel far-reaching and impactful on a grand scale.

In contrast, "House of the Dragon" primarily focuses on the internal strife within House Targaryen and their immediate circle of allies and enemies. This narrower focus, while rich in character-driven drama, sometimes makes the world feel smaller and the conflicts less consequential in the broader context of Westeros. The Bracken and Blackwood scene serves as a reminder of the larger world outside the Targaryen dynasty, offering a glimpse into the ongoing feuds and politics that exist beyond the main narrative.

By highlighting the tension between these two lesser houses, the show briefly expands its scope, reminding us that the repercussions of the Targaryen conflict ripple outward, affecting all of Westeros. It also reinforces the idea that the Dance of the Dragons isn't just a highborn squabble but a conflict with deep roots and widespread implications.

The Burning Mill

Although "The Burning Mill" as an episode title initially felt like a letdown—given that we saw nothing of the battle itself—it makes sense that the writers are reserving their budget for major battles involving the central characters. Upon reflection, the first scene and the episode's title serve as a metaphor for the complex beginnings of the Dance of the Dragons. As Rhaenys pointedly says, soon no one will truly know what sparked the war. When exactly did it start? Was it Aemond killing Lucerys? The Greens usurping the Throne? Alicent's attack on Rhaenyra after Aemond lost his eye? Rhaenyra’s first bastard, which undermined her claim? Alicent's green dress at Rhaenyra's wedding? Aegon's birth? Viserys declaring Rhaenyra his heir? Or did it begin even earlier with the Great Council choosing Viserys over Rhaenys? Jaehaerys appointing Otto Hightower as Hand? Or when the Old King’s heirs died, leaving him without a clear successor?

The true starting point of the conflict is elusive, just like the symbolic burning mill—it’s a gradual build-up of many sparks rather than a single igniting event.

Criston Cole "The Hand of the King"

It's surprising to admit, but I actually found myself enjoying some of Criston Cole's scenes in this episode. His moments of self-doubt and humility, coupled with the absence of insults towards Rhaenyra or explicit scenes with Alicent, made it easier to be reminded of the Criston Cole we saw in the early episodes of season 1. I could sense his struggle with being appointed Hand of the King and his need to prove himself through battle. The scene in the field where Baela pursued them was particularly memorable for me.

However, I was frustrated by the lack of "Dracarys." Baela could have used her dragon to burn the forest, and at least kill some of the knights with them, if not Criston or Gwayne. Which led me to realize the show has refrained from reaching the shocking and gruesome levels of "Game of Thrones,". Despite this, I loved Baela's character development in this episode.

I have to say, I absolutely fell in love with Moondancer's design. The way they've brought this dragon to life is breathtaking. Can’t wait to see Sunfyre.

Gwayne Hightower

Another character introduced this episode was Alicent's brother, Gwayne Hightower. His presence intrigued me, and I'm looking forward to seeing more of the actor and his character interactions with Cole. It would be interesting if they developed a kind of friendship or mutual respect, leading Cole to reflect on his past aspirations as a knight and how he lost sight of them due to his resentment towards Rhaenyra.

Once again, Mysaria is a character I'm always eager to see. I hope she is present in future councils. While I understand and respect Rhaenys' counsel, I believe Rhaenyra needs someone akin to Olenna Tyrell to remind her, "You are a Dragon, not a sheep. So be a dragon."

I'm pleased to see Rhaena finally having a role in this episode. It feels like there's been a good buildup to her eventually claiming a dragon. It really makes me question what will happen if she does claim a dragon. Will she disobey Rhaenyra and come home to join the fight? Or will they actually make it to Pentos? It was heartbreaking to see Rhaenyra saying goodbye to her kids, especially with a sense of foreboding about what might come next.

The Curse of Harrenhall

Harrenhall and Daemon are the highlights of the episode. As usual, Daemon remains the most intriguing character to follow, complex and difficult to fully understand. I'm unsure whether his taking of Harrenhal is on Rhaenyra's behalf or if he's contemplating betrayal and will later regret it. The castle itself is terrifying and evokes a deep interest in Aegon the Conqueror and the conquest. I could almost feel the echoes of Balerion's fire consuming Harrenhall, envisioning the incinerated corpses of House Hoare and its subjects haunting the halls.

The dream sequence was striking, introducing a witch into the show to spice things up. Seeing Milly Alcock again was a delight, and her chanting was chilling. The image of her sewing little Jaehaerys was shocking, and I'm glad they're adding depth to Daemon's character rather than painting him outright as a villain this season.

Alys Rivers

We are introduced to another character, Alys Rivers, who intrigues me the most among all the new characters brought to the screen this episode. After witnessing Aemond's transformation from a fierce and mad Targaryen to a bullied child with mommy issues, it's clear that Alys will likely play a significant role in controlling him in the future.

And the “You will die at this place…” HOLY SHIT. Battle at God’s Eye confirmed! Something epic is coming.

I really appreciated Heleana's scene with Alicent, particularly because it highlighted the depth of Alicent's love for her daughter—a redeeming quality amidst her other actions. I also noticed the resemblance between them, especially in their instinct to protect their daughters over their sons. It was a poignant moment that showcased Heleana's compassion and empathy towards the common folk, hinting at her potential to be a good queen akin to Alysanne.

Heleana's 'I forgive you' was a powerful gesture, offering Alicent the absolution she seeks while subtly acknowledging her role in the tragic events of that night.

Larys is a character I particularly enjoy because he embodies everything that makes great players in the Game of Thrones universe. Like Littlefinger, Varys, and even Tyrion, he constantly climbs in power and manipulates those around him effortlessly. He poses a significant threat to Team Black with his cunning and schemes.

Speaking of great players, I really missed Otto in this episode. His absence was palpable, and I found myself longing for his presence.

…The Bad…

Rhaenys follows a consistent character arc throughout the series. Initially, she advocates against war and encourages Rhaenyra to exhibit strength without resorting to conflict. However, her advice to Rhaenyra to reach out to Alicent in this episode feels contradictory. Especially after their scenes in 1x09. In that episode, Rhaenys recognizes Alicent's lack of true power, seeing her as a mere pawn manipulated by the men in her life. Therefore, it's perplexing why Rhaenys would believe that engaging with Alicent could achieve anything constructive, especially after Jaehaerys's assassination. I believe this was a choice made to include the last scene on the script, which for me was a huge mistake. But I will address that scene later on…

One of my major concerns with this episode is the apparent collective amnesia regarding the murder of a child, a tragedy acknowledged only by Heleana and Alicent (And Daemon)

The council meeting was lacking in conflict and consistency with previous decisions made. Aegon's current lack of an heir is a significant omission in this episode. The narrative fails to address who might succeed him: could it be Aemond or his daughter Jahaera? This would create an intriguing conflict for Aegon, especially considering the Greens' hypocrisy if they were to name a female heir after usurping Rhaenyra for that very reason.

The strained relationship between Aemond and Aegon adds another layer of complexity. If Aemond were appointed heir, would he remain loyal to Aegon, or would he betray him? This scenario could parallel the dynamic between Viserys and Daemon, albeit with a stark contrast in their mutual love and respect, which is absent between Aegon and Aemond.

It's intriguing to observe Jacaerys becoming increasingly frustrated with his mother's passivity towards the Greens and the ongoing conflict. However, he feels like a character the writers haven't fully developed in these recent episodes, perhaps because there isn't a clear narrative direction for him until they reach parts of the source material that directly involve him. Personally, I believe Jace could have benefitted from a storyline arc in the North, exploring the reasons why Cregan Stark fought so vigorously during the Hour of the Wolf to fulfill his promises to Jace.

I still have mixed feelings about Ulf White, especially knowing his eventual story. However, what deeply bothers me is the decision to make Baelon his father. Jaehaerys had so many children who could have been his potential father. In my mind, Baelon was always faithful to Alyssa even after her death. It seems to me that Ulf is older than Daemon but younger than Viserys. I think it would have been more intriguing if he had been portrayed as Aemon's bastard, considering Aemon only had Rhaenys, which could have made Ulf a potential heir to the throne.

Aemond's storyline has become tedious for me, especially with Madame's involvement. While I understand they're trying to humanize him and make him more relatable, I find him increasingly ridiculous at this point. The scene where Aegon mocks him feels pointless to me. If they're not setting up for a future betrayal driven by resentment and vengeance, then what's the purpose of making Aegon so openly cruel towards Aemond?

Another issue I have with these scenes is how they’ve opened the door for viewers to mock the actors' physical appearances. It's disgusting and entirely wrong. If it were a female actress being mocked, there would be an uproar on social media about the disrespect. This kind of toxicity is unnecessary and harmful. The same goes for those attacking Fabien Frankel for his portrayal of Criston Cole. We should be respectful and appreciate the quality of the performances that evoke such deep feelings about the characters. It’s crucial to separate the actor from the character they portray. The actors bring these complex roles to life, and their talent deserves recognition, not ridicule.

… and the absurd.

I don’t know why for a moment during Daemon’s dream, I thought it was Alyssa instead of Rhaenyra, I got really excited and nervous for a moment. Then i also thought it would be Aemma holding Rhaenyra or even Baelon who Daemon mockingly called "Heir for a day". My mistake...

I found Rhaenys' assertion that Jaehaerys was the greatest king primarily due to his lengthy reign somewhat irksome. While I understand she may be highlighting Jaehaerys' reputation for wisdom and the era of relative peace during his reign being known as the Golden Age of House Targaryen, I'm troubled by the way the statement was presented. Longevity alone doesn't define greatness, especially when comparing him to Aegon the Conqueror, who achieved monumental feats in a shorter time. Jaehaerys' extended rule, possibly due to better health compared to Aegon and Aenys, doesn't automatically elevate his legacy above Aegon's transformative impact. Moreover, any king succeeding Maegor the Cruel would naturally be seen as an improvement.

Jaehaerys may have ascended to power at a young age and accomplished admirable things without resorting to Aegon's brutal tactics. However, I harbor resentment towards him for his unequal treatment of his daughters compared to his sons, and for limiting Alysanne's authority unlike Visenya and Rhaenys during Aegon's reign. His decision to establish a council instead of naming Rhaenys as queen, despite her clear suitability, and his empowerment of the Hightowers through Otto, makes me question whether he truly deserves the acclaim bestowed upon him.

But those are just my personal feelings regarding him...

Rhaenyra and Alicent's reunion

I couldn’t wrap up this review without delving into the last scene, the one that has stirred a considerable amount of discontent among fans: Rhaenyra's plan to confront Alicent in the Sept. *Major eye roll*. Initially, I thought Rhaenyra would send someone else, like Mysaria, to deliver her message. It’s understandable that Alicent would only consider speaking directly with Rhaenyra, given their long history and the personal stakes. However, the setup from the end of 1x08 clearly aimed for a pivotal moment where everything would be clarified as a tragic misunderstanding. But honestly, this decision seemed to do little more than make Alicent appear foolish and undermine the gravity of the entire conflict.

Misunderstanding or Manipulation?

 Many viewers are frustrated by the idea that this entire war could have stemmed from a simple misunderstanding. I don't believe that's the case. I think that characters like Otto, Aegon, and anyone who met Viserys (excluding Alicent) knew perfectly well that he would never have named Aegon as his heir. This was not a misunderstanding; it was a convenient excuse to legitimize their decision to usurp the throne.

The fact that Alicent genuinely believed her husband's incoherent deathbed ramblings, thinking he would reverse his lifelong support for Rhaenyra, is what makes the situation absurd. This is the same Viserys who, despite his frailty, dragged himself out of his deathbed to the throne room one last time to support Rhaenyra. It's almost laughable to think that Alicent could be so easily fooled, and it speaks volumes about her character.

A Disservice to Alicent and Rhaenyra

What's more troubling is how this scene reflects on both Alicent and Rhaenyra. Throughout this season, both have been portrayed as weaker, more gullible, and often less intelligent than their Fire & Blood counterparts. This scene, in particular, makes them seem less like the powerful queens they are supposed to be and more like pawns caught in a childish game.

The love they once held for each other is evident; otherwise, Alicent would have exposed Rhaenyra, and Rhaenyra might have taken more drastic actions against Alicent. But neither seems capable of altering their tragic course, and this plan was a colossal blunder.

Practicality vs. Narrative Convenience

Rhaenyra's decision to risk her life by sneaking into King's Landing the same way Daemon did in episode one felt illogical. Why was it so easy for them to infiltrate the city? This simplicity undermines the security and tension that should be present, given the stakes.

At one point, I even speculated that the trailer scene where Rhaenyra and Syrax meet on an island might happen in this episode, imagining a secret rendezvous between Dreamfyre, Helaena and Alicent. However, it’s becoming clear that this scene likely involves Seasmoke and Adam, potentially pushing Rhaenyra towards seeking out the dragonseeds.

Ultimately, the reunion between Alicent and Rhaenyra felt underwhelming. It almost trivialized the larger conflict, making it seem like a mere playground squabble. Given the rich source material, this scene could have taken many different, more compelling directions. Instead, it fell flat, leaving me questioning the show's handling of these crucial moments and the characters involved.

Final Thoughts

Despite some of the episode's highlights, this final scene leaves much to be desired. It encapsulates the series' struggle to balance character depth with the grand, sweeping narrative it aims to tell. As we move forward, I hope the show can find its footing and deliver the powerful, character-driven storytelling that made Game of Thrones so compelling.

[rileyquinblog23]

Hey everyone,

I need to address something troubling that's been happening recently. There's been a rise in disgusting, mean-spirited comments online targeting Hinata and her fans, specifically coming from a girl named Gabby Erdman. This kind of behavior isn’t just rude—it’s outright cyberbullying. Using public platforms to spread hate and disrespect is unacceptable and harmful.

Hinata and her fans deserve to engage with the community positively, just like everyone else. No one should have to face this kind of abuse. We need to call out these harmful actions and support each other against such negativity. Let's work together to create a kinder, more respectful online space. 🌟

#StopCyberbullying #SupportHinata #KindnessMatters

I want to address a concerning issue that’s been popping up more frequently: the misuse of character hatred as a form of cyberbullying. It’s crucial to recognize that disliking a fictional character should never justify attacking, threatening, or bullying others.

When people let their negative feelings towards a character turn into harassment against fans, creators, or anyone associated, it crosses the line from healthy critique to harmful cyberbullying. This behavior is not only hurtful but can also escalate into serious threats, which is unacceptable.

We need to remember that it’s perfectly fine to dislike a character or disagree with a storyline. However, using that disdain as an excuse to harass or threaten others is not justifiable and should not be tolerated. Let’s focus on fostering respectful discussions and addressing differences without resorting to personal attacks or intimidation.

Together, we can create a safer, more supportive community where everyone can express their opinions without fear of being bullied. Let’s work towards constructive conversations and kindness in all our interactions. 🌟

Cyberbullying is more than just hurtful comments and online harassment—it can lead to significant issues like inequality and bad behavior. When people are targeted online, it not only affects their mental health but can also perpetuate a culture of fear and division.

The impact of cyberbullying extends beyond the individual. It reinforces harmful stereotypes, creates hostile environments, and can lead to systemic inequality by discouraging diverse voices and perspectives. Additionally, when people see or experience cyberbullying, it can normalize bad behavior and contribute to a cycle of negativity and intolerance.

We must address cyberbullying not just as a personal issue, but as a societal problem that affects how we interact and respect each other. Promoting empathy, support, and respectful dialogue online is crucial in combating these issues and fostering a more inclusive and positive digital space.

Let’s work together to create an environment where everyone feels safe and valued, and where we stand up against inequality and harmful behavior. 🌟

CyberbullyingAwareness #RespectInFandom #HealthyDebate

[lazyalani]

Blue Lock Boys As Songs

| Blue Lock Masterlist

| Main Masterlist

Ft. Itoshi Sae, Itoshi Rin, Mikage Reo

•Part 2 (Michael Kaiser, Chigiri Hyoma, Bachira Meguru)

| Written mostly from the characters' thoughts, Written from my opinion and thoughts of them, Fluff- Reo, Angst- Sae, Rin, The lyrics written are the ones connected to the "storyline", Gender Neutral Reader, no pronouns mentioned or used except for the lyrics on Sae's part.

SAE

"I Broke Her Heart 'Cause She Was Nice."

"She Was Sunshine, I Was Midnight Rain."

"She Wanted It Comfortable, I Wanted That Pain."

"Chasing That Fame."

"All Of Me Changed Like Midnight."

Itoshi Sae has always been someone to set a goal, or more like a desire, and consider everything that would affect it. Itoshi Sae does not desire something that he cannot aquire, he does not set a goal that passes the boundaries of reality.

Itoshi Sae does not need, he wants.

He does not need distractions, he does not want obligations.

He has always centered himself in reality, philosophies and beliefs going around his interests, and things surrounding it. He was always a focused person, once he wants something, the entirety of his mind centers around achieving and gaining that want. In his mind, there will always be such thing as

"Sacrifices have to be made in order to obtain what you want." He allured himself into that thinking and told himself to erase distractions that might negatively impact his desires. He isn't one to take risks, he does everything that could increase his chances of victory.

And so he does.

Itoshi Sae is selfish, he takes and takes, and then he tosses.

RIN

"What's Wrong?"

"I Said, "I Can't Stay, Do I Have To Give A Reason?""

"It's Just Me, Me, Me, It's What I Want."

"So How Did We Get Here?"

"Better If We Do This On Our Own."

"Before I'm Someone You Leave Behind,

I'll Break Your Heart So You Don't Break Mine."

"I'm Asking Myself, Why I'm So Caught Up."

"Even If I'm Not Here To Stay,

I Still Want Your Heart."

Itoshi Rin's first heartbreak was caused by his own brother, on that snowy night, on a supposed heartwarming reunion, turned heartbreaking conversation. The Last Play. Ever since then, he was so obssessed with his dream of crushing his older brother that nothing else mattered to him. Except you.

Or atleast you thought so.

Itoshi Rin became tired of chasing his brother's lost affection that he started craving someone else's. You just happened to be that person. You thought yourself lucky of being the person Rin had decided to dedicated his affection to, of being the person he opens to, being the person who gives him the love he deserves.

Rin was a selfish man, much like his brother. Despite telling himself not to turn into a cold-hearted man like Sae, he was unconciously drowning himself in so much bitterness and turning exactly into his brother. When Rin had realized his feelings for you, he fell deeper knowing that you were the light that would prevent him from sinking further into the depths of hatred. He knew you'd always pull him back when he's about to fall, he got ised into thinking you'd always be there, and you were, until your light had started to fade.

Itoshi Rin fell deeper and deeper into the bitterness in his heart without you to pull him back. He wasn't blind, he started to notice that the light that was once in your eyes, was not there anymore. He wasn't an idiot to not know the reason, either. He felt guilt, but not as much as he expected. And he realized, ah, he was too selfish, too caught up on his own desire to crush his brother to even care further. The love you had given him was not enough to fill for the heartbreak his brother had caused. It wasn't enough for him to be completely pulled out of the dark side of his desires. He realized that the guilt he was feeling was buried in his own selfishness and bitterness. A part of him tells him to bring back the light into your eyes, to save your diminishing realtionship, but a huge part of him tells him that he doesn't have time for that, that he doesn't deserve another chance from you, that he was too caught up in himself to even care further.

Rin had always known he didn't love you to the fullest, but he always thought that the love he felt for you was enough for both of you to stay until he can fully give himself to you, until he finally crushed his brother.

Or was it that he always known it had to end, just not this way?

Not when he still loves you, but is too caught up on his personal problems to make you stay. Not when his selfishness has extended to still want your love even when he knows he cannot stay. He does not know why he is so hung up on his bitterness, was it because he was so used to his and Sae's closeness? Or was is because he was just like his brother, cold, selfish, lets their personal emotions ruin them?

Rin does not know when your relationship started to crumble before him, but he does know that he cannot stay, and he knows that you definitely cannot either.

But even then, he still wants your heart to the very end.

REO

"You Got That James Dean, Daydream Look In Your Eyes."

"And I Got That Red Lip, Classic, Thing That You Like."

"When We Go Crashing Down, We Come Back Everytime."

"We Never Go Out Of Style."

"He Can't Keep His Wild Eyes On The Road."

"Takes Me Home."

Mikage Reo is a man that is hard to please, mainly because he almost has everything, he can almost get anything. Second is because he doesn't care about the things that don't interest him, that doesn't benefit him.

When Reo met you, it was Autumn. The leaves falling down from the beautiful tree infront of you serving as your background, your hair shining in the sun, the wind blowing it as you make eye contact with him. The view that was infront of him was mesmerizing, his purpose for going out during class hours was to find the missing Nagi, probably sleeping or playing games somewhere.

Your first reaction was not quite was he expected.

"What are you doing here? It's class hours!" You frowned upon being disturbed.

Reo was pulled out of his stare, clearing his throat. "I could say the same thing for you."

"It's none of your business."

"Then mine isn't yours either."

"I asked first, so it is my business."

"What kind of logic is that?"

"My logic. Now please go away, Mikage Reo-san, I was trying to have a moment."

He grinned. At that moment, he decided you were interesting. Why? He doesn't know, and he doesn't care. Afterall, Mikage Reo always takes what he wants without having to care.

Being in a relationship with Reo was weird, happy, frustrating, saddening, and free. In short, it triggers mixed feelings, but who cares as long as he takes care of you and you love being with each other. In didn't matter to Reo what happens around him as long as he gets to take care of you and you give him the love he deserves, the feeling of freedom with you. He spoils you, whether it'd be material things, or with his affection. He loves to gift you with things, to give you everything you want and need, to take care of everything do wouldn't have a problem with anything. It does make you frustrated at times because you feel like he thinks you can't do anything or that he treats you like you're too fragile, but as they say, communication is the key. When you tell Reo your thoughts, it does sadden him a bit, but it also makes him feel guilty because he doesn't mean to make you feel that way, but respects your thoughts and lessens his actions.

But it doesn't make him less affectionate. Reo loves to kiss your hand, like a true gentleman, especially when he's driving, taking you hand into his and kissing your knuckles, looking at you, and you need to remind him to keep his eyes on the road or hospital bills will go brrrr, or driving with one hand while the other rests at your thigh. Reo didn't know how to drive, but he learned how to just so he could take you home while also having personal moments with you, and also because he thinks it's romantic and always wanted to try the hand on your thigh thingy.

Reo loves matching your outfits, especially when you go outside for a date or something. He also gets you matching pajamas and video calls with you at nightime until one of you falls asleep.

Communication is the most essential part of your relationship. Reo does not understand the meaning behind everything well, so you have to explain to him bit by bit.

Mikage Reo loves you more than the amount of money he has on the cards on his wallet combined.

[lemonhemlock]

Hi,I've recently discovered your blog and I Iove it.

I would like to know if you have any predictions regarding the second season of HotD. Do you think that the pessimistic attitude of many show watchers,especially TG fans, is warranted? Imho, if anything could irreversibly harm the greens is Rha*nicent. Not the ship itself, but the way the showrunners seem incapable of letting that ship sink after the time skip and are pushing it even after everything that has happened in season 1. Idk, the mere possibility of Alicent betraying her family and forsaking her children in any way to ingratiate herself to Rhaenyra is so illogical and outrageous, especially after B&C. The thing is, I'm almost certain that we are going to see a lot of Rha*nicent in the following season in some form and it could really irreparably ruin not only Alicent's character, but the greens in general. And, ofc, the show. What's your opinion about this and do you have any other predictions regarding the future seasons?

Thanks in advance :)

First of all, thank you, anon! 🌞🙏🌻

Preferences aside, I just think that white feminism sells in media. It manifests in tropes such as girlboss narratives (I know everyone is tired of this word by now), women warriors, female sexuality relayed through a male gaze-ish lens, overcoming adversity in an easily digestible way, scoring against some obviously misogynistic obstacle, framed in a way that appeals to a basic sense of justice etc. Lots of female characters that became popular in the last 15 years embody some of those markers, from Natasha Romanov to Katniss Everdeen to Arya Stark to Lagertha. And they're not even necessarily ~bad things~ or elements we shouldn't ever have in our fiction, it's just that this kind of tried-and-tested formula is what film executives think will bring them easy popularity and quick money.

Daenerys was such a hugely popular character that that it's to be expected (in this capitalistic hellscape we live in) that it would make monetary sense for HBO to try and recreate a straightforward empowerment narrative with the character of Rhaenyra. On paper, she has all the superficial storyline elements that could be converted into a blockbuster: powerful in some badass way (she is a competent dragon-rider), is A Rebel, owns her sexuality by sleeping with whomever she wants, which translates into 21st century mentality as empowerment, and has to overcome an obstacle posed by The Man.™ All wrapped up in a nostalgic package that reminds viewers of their beloved Daenerys.

So, unfortunately, I expect them to continue to build on these marketable points instead of focusing too much on finesse details, such as how Rhaenyra's already immense privilege and power as a princess of the Realm and a dragon-rider negatively impact those around her, how she can be both victim and perpetrator, how she perpetuates the cycles of violence and abuse + her less than palatable traits. Certainly, I'm not going to stand here and declare that they WON'T touch on those aspects either, before even watching the new season, because that would be silly. I DO expect them to address at least some of those issues and I'm sure there will be many moments which I will enjoy and even scenes that will be well-crafted explorations into certain questions. I do like this show a lot, at the end of the day, and will probably love S2, as well.

But, overall, I can't say hand-on-heart that the marketable concerns won't prevail in the end either, and I expect the framing to fall in the direction of "yeah, she did some bad stuff, too, but ultimately Rhaenyra had the right of it and was Betrayed by power-hungry woman-hating misogynists". Which does get frustrating in this media climate, because it is essentially the same message being delivered without much nuance or refinement: women* can't ever be wrong, anything a woman does is automatically great and should be supported, all delusions are valid if they're produced by a woman etc. I hope to be proven wrong, but only time will tell. Which is not to say that we should go back to making pro-patriarchy and pro-gender roles stories, which is kind of the vibe I'm sometimes getting from some "anti-woke" HotD critical pieces. An intersectional HotD - is that possible? At least a little class commentary on these people.

(*Of course, this only applies if the character fits into, what essentially is, another type of Ideal Woman: the acceptable amount of progressivism deemed appropriate at the current time, with the acceptable attitudes and interests. But that's a discussion for another day.)

So this is where rhaenicent falls for me. I've always thought it was an interesting addition and the change never bothered me, but there is a certain point at which it becomes unbalanced and, as you say, illogical. When is love ever "logical", though, you might question? Well, I think the prospect of losing your children + grandchildren + father + brother vs holding on to an unrequited lifelong crush might knock some sense into someone. Realistically speaking, the vast majority of people would nope out of that equation and the choice would be clear. How much can you truly love a person at the expense of literally your entire family? (including your extended family, because the Hightowers in Oldtown risked their lives for King Aegon). The reward is also so small, what exactly would Alicent be trading for? Yearning gazes and holding hands? Rhaenyra has not exactly been shown to reciprocate these feelings post Alicent's marriage to Viserys.

I think that the showrunners are holding onto this aspect because they're trying to make Alicent sympathetic to the general public, who are mostly on Rhaenyra's side, as a result of the show's framing. So their logic is that the viewers won't hate Alicent as much if she displays how sorry she is for everything, how reluctant, how much she loves Rhaenyra. And they think that her contradictory actions are a fair trade-off. So I do expect us to get more rhaenicent in the coming seasons.

All in all, this wouldn't be so bad, because indeed it could be framed as very romantic, a lot of pathos, star-crossed lovers etc and human emotions are messy and complicated. Our desires can often be contradictory in nature. Literature and mythology are filled with passionate love stories that defy all rhyme or reason. Doesn't Jaime tell Cersei he would kill every single person in the world for her? I just hope it'll get the presentation it deserves, delving into the complicated nature of love and difficult choices, and not turn into "Alicent would sell out her kids to save Rhaenyra from her self-inflicted predicament, all the while Rhaenyra is not sparing her a single thought or concern".

[scyllamoonlight]

Mass Effect: Andromeda

Okay so, I just finished replaying through the mass effect trilogy and begun playing Andromeda something I was somewhat scared to do due to all the negative opinions regarding it.

So far there's a fair bit I've been considering in regards to the actual development and writing process for Andromeda as an expansion of the mass effect world building.

The ending of mass effect 3 would be extremely hard to build upon given that there were three possible end scenarios not including all the possible world altering choices throughout the game (e.g. curing the genophage or taking the Salarian deal, Siding with the Quarians or Geth or both) in all it's a lot of variables to consider when building a story and almost makes it unviable to continue a storyline in the milkyway or with Shepard as the MC. A lot of the critique towards Andromeda, from what I've seen stems from the story not following Shepard or the Impact of Shepard's actions, or all in all not comparing to the storyline of Mass effect 3. Regardless if we want more mass effect content I think Bioware has done their best to expand on the universe without having to either take on a massive workload regarding 3 different endings or pissing everyone off by retconning decisions or the end of mass effect 3.

The combat is good (as someone who doesn't play a lot of FPS games) and while it does fall short of ME3 combat it does have some things I enjoy more (like actually being able to run) the airborne combat also feels very fun and authentic to the game, as well as the scanning and exploration features.

So far I'm enjoying the storyline and the only thing that bugs me is the character rendering and how smooth PeeBee looks. Also I miss the Mako (I want to shoot people from the safety of my truck).

Overall I feel like asking the studio to continue Shepards story is an astronomical ask and comes more so from a place of nostalgia rather than critical thinking of how a continuation could actually be developed. I haven't entirely finished the game yet so maybe my opinion will change as I play but looking at it as an expansion of the ME universe rather than an extension of Shepard's story definitely helps.

[chatonarya]

I'd like to take a few moments to talk about Weiss (Courier) and the few tidbits of extra lore he received with RS and how it impacts his overall character. Mostly this is just because I’ve always had a soft spot for him, as it was actually Weiss who charmed me from the first and got me invested in the Kjerag faction and characters, and perhaps it’s merely wishful thinking on my part, but I like to hope that his storyline still has more to it. I’ve always found it strange how, during the release of BI, all the year 1 Kjerag operators received oprecs, yet he was curiously exempt. 

But now with the upcoming Terra Meshi event, he’ll finally receive an oprec and I’m thrilled at the prospect of more lore for him. So ahead of that, I’d like to talk about what we have so far.

Weiss appears little in RS, mostly observing Harold and his army and delivering Harold’s invite to Enciodes. After Weiss gives his report and opinion of the army, Enciodes comments that Weiss is “fond of taking the negative tack,” but this is in fact “one of [Weiss’s] strengths.” This shows that despite Weiss’s oft-cheery exterior facade, he has a pessimistic streak when it comes to potential conflict.

Near the end, when he awakes from being captured by the Victorians, he is vehement and adamant that he get free as soon as possible to rush back to Enciodes to do what little he still can if the situation is too late, stating that he “[has] to make up for [his] disappointment,” which is a sort of callback to his module, where he places “living up to duty” as the most important thing he can do for Enciodes. We also learn he conceals a razor in his shoe, never without a weapon of some sort.

Furthermore, we also see that as of RS, both Weiss and Matterhorn are in Kjerag assisting Enciodes while Ensia is in Laterano on her own. It would appear that much as Gnosis left Rhodes to return home when his presence was needed, they did the same (which is notable as in Matterhorn’s oprec, Enciodes assigns him to look after Ensia full-time, but I won’t digress too much).

All of this is in line with Weiss’s previous characterization. Though perhaps the most interesting tidbit about Weiss comes not from RS itself, but rather, Gnosis’s oprec, wherein Enciodes makes a passing comment about him.

Enciodes: Matterhorn has been with me since I was little, and Weiss's situation is kind of unusual. I don't have any other friends.

This demonstrates two things: first, despite being the one who rescued him and being likely of relatively close age, Enciodes doesn’t actually consider Weiss to be a potential friend on equal footing the same way he would be with Gnosis, their distance of master and subordinate already established. This already implies potentially that Weiss came from a vassal family, but also that he was possibly orphaned and adopted into the Silverash household with the expectation of becoming their servant later on.

Second, that actually, Weiss has known Enciodes since childhood, which explains Weiss’s comment in Matterhorn’s oprec about Matterhorn being worried about Weiss ever since was little and Weiss begging for candy whenever he was hurt during training. From this, we can infer that Weiss trained ever since he was young to become Enciodes’s guard, potentially including even while he was away, and we now know via the official timeline that Enciodes spent seven years away from Kjerag. Per Weiss’s own profile and voice lines, we know his intense loyalty towards Enciodes stems from his rescue—yet I have often wondered at Weiss’s self-imposed duty to eliminate threats towards Enciodes in secret, as detailed in his module.

This is something which remains one of the biggest mysteries surrounding Weiss, and in fact what I would say is one of his most defining traits: the fact that besides being Enciodes’s personal messenger, Weiss is also his secret assassin. Weiss is very careful to allow nobody, even Enciodes, to know what he is capable of. Enciodes does not ask that Weiss go out and kill for him (though I believe he must be at least somewhat aware of it, because this is Enciodes we’re talking about), but Weiss chooses of his own volition to use violence to eliminate those who want Enciodes dead, regardless of the costs to himself. Weiss is covered in scars, all of which came from Enciodes’s potential killers, and Matterhorn’s oprec (which I should mention is post-BI) mentions that Weiss often conceals his injuries from others.

Of the three of Enciodes’s most faithful supporters (Gnosis, Degenbrecher, and Weiss), all of them are violent to varying degrees, but Weiss is the one who is explicitly highlighted as having killed, repeatedly (although the other two have as well), without a second of remorse or hesitation. I’ve wondered before what drives Weiss to such lengths—of course, knowing now that he was quite young when he was rescued, this would leave an immense impact on his psyche. As well, I would also say that Enciodes’s innate charm, especially as a child, no doubt captivated him or won him over just as it did with Gnosis.

(I’ve joked in the past that perhaps this intense loyalty could be an innate racial trait, going by the only other Itra we know and in fact Weiss’s acquaintance: Monch. Monch acts similarly towards Gnosis as Weiss acts towards Enciodes, though we lack context at the moment precisely for why, and I admit it’s a bit of a silly theory.)

We also know via Degenbrecher’s profile that Weiss was wary of her when she joined them as she essentially took his position, though now he is at ease with her (no doubt having witnessed that Degenbrecher cares deeply about Enciodes). This pushed him out of the role of bodyguard and more firmly into the position of messenger and servant, but I don’t think Weiss is the kind of person to abandon his self-appointed duty as assassin. If anything, Degenbrecher being Enciodes’s shadow would permit Weiss to engage in his secret role more freely.

Truly, I am very much looking forward to Courier’s oprec, and I hope it digs into some of the mysteries surrounding him.

[earthtogwyneth]

Blog Post #5 (10/3/24)

How has the gamification of violence impacted children's view on violence?

Violence in video games has lessened the impact of how real the consequences are. In many games, the killing, raping, murdering of people, especially women, has become a normal part of the game. Committing these acts are needed to win the game in most circumstances. Fickle discusses, "Did it [Pokemon GO] not, by making requisite such discomfort as might otherwise be avoided or at least anticipated in daily life, actively reify the abstract fact of inequality with an unpleasantly vivid material reality?"(pg. 1, Introduction). When games begin to make violence normalized and present it in a palatable way for children, children begin to believe this is normal behavior. Children begin to reinforce this behavior through the way they interact with others and have a normalized sense of that this behavior is accepted in the world.

How has the internet increased the spreading of misinformation?

Misinformation has become so heavily widespread across various media platforms that it has affected the ways in which people consume information. The internet has impacted the way information is presented and then consumed. As opposed to only getting your news from trusted news sources, the internet has allowed for people and independently-ran sources to present news. Although discourse about news is encouraged on social media platforms, it creates an outlet for people to spread personal opinion and call it fact. Without a proper caution to believing everything you see online, people can begin to believe personal bias and opinion as fact, and this would create a loophole of misinformation constantly being spread.

Does the usage of race in video games reflect society's beliefs on race-related topics?

Video games including race and creating scenarios in which a character's race is their entire storyline does reflect society's consistent uncomfort with race-related topics. Discussed by Fickle, games are meant to be an alternate reality, and this alternative reality still harbors the same constraints and notions related to race and gender. Games were created to be an outlet from regular routine, for many an escape. This escape has only been subjected to the same prosecutions the world has been subjected to involving socially constructed viewpoints to become integrated into the game's development. Kolko said, "As mentioned earlier, users bring their assumptions and discursive patterns regarding race with them when they log on, and when the medium is interactive, they receive such assumptions and patterns as well"(pg 9, Race in Cyberspace). Although thoughts of race is developed within the game, in online spaces, discussions of race are also present and involve users presenting opinions on race, most often in negative ways.

How can society be critically aware of their consumption of bias related to race in media?

It's important that society critically analyzes the usage of race and discussion related to race online. Race being a socially constructed topic will always create for discourse surrounding it, but that discourse can be used to present justice to those impacted by negative notions. Society needs to have a clear understanding that race continues to be a prevalent topic of discussion because of media's infatuation with the topic, and the constant discussion of race. Kolko wrote, "Cyberspace and race are both constructed cultural phenomena, not products of "nature"; they are made up of ongoing processes of definition, performance, enactment, and identity creation"(pg. 10). The role that race plays in all of media is due to the constant discussion of the topic, which lies at the fault to that differences have not been accepted, and policy allows for these differences to fester.

Fickle, T. (2019). The Race Card: From Gaming Technologies to Model Minorities. New York University Press.

Kolko, B. E., Nakamura, L., & Rodman, G. B. (2000). Race in cyberspace. Routledge.

[hareofhrair]

Typed out a whole long post on reddit that it won’t let me post for no apparent reason, so y’all have to read it instead. It was a response to the question…

Imo, Dragon Age 2 was worse (because it just wasn’t *finished*) but DAI had some pretty glaring flaws. People have mentioned the gameplay issues with things getting annoyingly mmo-like, and the terrible war table timer, a lot of the fights being unnecessary slogs or just annoying to fight- the fear demons that teleport in front of you, knocking you over, then stun you while you’re still in the standing up animation comes to mind.

But for me the biggest problem was a culmination of writing problems that had always been present, but compounded as the series went on. It’s always been a bit… I don’t know if centrist or just contradictory is the better word.

The writing of inquisition is very concerned about *judging* or punishing the player’s negative moral choices and this has an impact on the consistency of the writing, even for people who aren’t interested in engaging with the ethical issues the game presents, because it’s afraid to give you consequences for your actions or allow them to make major impact and it goes out of its way to try and justify any choice you make as morally right or at least pragmatic in a very surface level way. This is consistently teeth grindingly annoying if you’re playing a “good” character/aligning yourself with the elves and mages, because the game is constantly finding an excuse to interrupt whatever you’re doing to say “but what about the Templar’s feelings??? QmQ” or “Did you consider… some elves are really rude???” or “This one mage did something Bad(tm) therefore it’s actually reasonable and right to want to murder all of them!” It also undermines player choice if they want to be evil or self serving, since it’s constantly bending over backwards to tell them how right and just and good their choices are. The writing itself won’t commit to a moral position because it’s too afraid of contradicting the player, and that makes it impossible for it to actually bring any of its themes to a satisfying conclusion.

(It makes this worse by choosing to really backseat the darkspawn storyline in favor of the templars vs mages conflict, which is annoying for multiple reasons, not the least of which is because they can’t bring it to a real resolution without drastically altering the worldstate and having to create two separate storylines- something inquisition is desperate not to do because of money and time restraints. You just can’t do meaningful branching narratives in a triple A setting as this whole series really illustrates- so they just pivot away from it into the *bullshit* with Tresspasser which I will get into in a minute…)

DAO handled the moral issue at least slightly better, I think. There were consequences for deciding to be an asshole at least. I was recently playing a Dalish elf and slogging through the Sacred Ashes questline getting more and more resentful as they essentially forced my character to Become Fantasy Catholic, so I dumped dragon blood in the ashes just to be spiteful… with Leiliana and Wynn in my party. Whoops. In case you haven’t played DAO, there are multiple big moral choices you can make- among them deciding to defile the mortal remains of Fantasy Jesus- which will cause your party members to leave permanently or straight up try to kill you! They have firm personal morals, and if your actions go against those morals they won’t just tolerate it.

Unfortunately, there’s a reason DAO connected such a major party breaking choice to the unavoidable-if-you-want-the-best-ending Player Has Become Catholic quest. These games have some issues with religion.

On the surface, it wants to pretend all the different religions are equally valid and it’s not taking a stance on which one is *real.* Wink wink nudge nudge. Then in practice it trips over itself to provide proof the Christian analogue is real. From finding Jesus’s ashes which have magic healing powers in DAO to Corypheus in Inquisition confirming the blight really was started by Tevinter mages desecrating heaven and pissing off the Maker, which up till then at least had a plausible deniability veneer of “this might be church propaganda, we don’t know what really happened.” And the games will *consistently* assume you are fantasy Catholic 90% of the time, *even if you’re a dwarf or an elf or FUCKING QUNARI*, the only concession being essentially flavor text dialogue where, if asked directly about religion, you can tell people their god is fake in the rudest manner possible. You are either catholic or an asshole, that’s it. Inquisition really knocks it out of the park though with making you *literally* the leader of the titular fantasy catholic inquisition. You can protest throughout the game that you’re not actually fantasy catholic, but this doesn’t have any meaningful effect on anything, and you obviously can’t just choose *not* to lead an explicitly religious order of a faith you don’t actually ascribe to.

This isn’t just me ranting about how much it sucks to be Assigned Catholic At Character Creation (though it is) it’s about how consistently the game renders player choice meaningless. And I fully believe it’s an extension of the already discussed issue with being terrified to contradict player choices or have to account for them in gameplay. It’s just that it treats believing in the Christian analogue as something *default,* standard and unobjectionable. “Of course our players will be Christian. Everyone believes in god! They’d only choose *not* to be as a fun wacky role playing experience! Which means acknowledging those other religions is optional and we can cut it for time.”

Which brings me to *fucking* Trespasser. First of all, and totally besides discussion of the writing, they released DAI without its actual ending, and then released the ending nearly a year later, as PAID DLC. That dick move alone engendered a Lot of negative feelings about the game, even from people who loved everything else. And then there’s the actual content…..

I actually just decided it’s too goddamn much to get into for a reddit post that probably no one will read. Short version- remember the religion problem? And also the bending over backwards to make the player feel morally justified for hating the elves and mages problem?

So it turns out not only is the elven religion *not* real, it was actually just a bunch of evil elven mages doing a slavery! You know, just like the empire of slave owning evil mages we already had? Remember Tevinter? Yeah, turns out that happened twice. Fuck mages, am I right? Also the racist egg you’ve been trying to make friends with all game has, apropos of absolutely nothing, decided actually Fantasy Islam is the biggest threat to the elven people right now (not the civil rights issues or the slow cultural genocide or anything) and he needs to blow up the world before the elves become muslim.

I don’t even know where to go from there frankly! What else can you say! His entire justification for turning against the player and wanting to tear down the veil is wanting to “save” his people (people he has spent the entire game calling inferior and not real elves) by…. Killing them all! Which will fix them, somehow? The specifics aren’t important. All that matters is it’s better they die now than join a different religion. As for everybody else on the planet? Well, we already established he’s racist, not giving a shit about destroying all the non elves is actually perfectly in character. No notes there.

Uhg. I’ve gotten very off track. Trying to bring it back in-

The dragon age series has always been over ambitious in trying to center player choice, stumbling into the same pits Mass Effect did when they simply didn’t have time or money to implement branching narratives, leading to games that talk a lot about how your choices matter while actually giving them very little impact. Origins came the closest to that goal, giving you more choices than most games of the time for how to approach problems. But as the games went on and the team was expected to continue accounting for those choices going forward, it became increasingly avoidant of giving the player choices that had any actual significant impact on the overall worldstate. Combined with a growing reluctance to be perceived as punishing players for in game moral choices (potentially alienating players when they needed to be as broadly appealing as possible because capitalism) and the writer’s centering an explicitly christian perspective as default, these problems snowballed and by Inquisition became very difficult not to notice, creating a choice driven rpg where you can’t make meaningful choices and can’t role play.

[moldwood]

CoS ask: 1, 3, 5, 7 (any or all :3)

oh goodie goodie all of them of course. gabbing incoming

How much of your campaign is RAW, how much is other people's homebrew, how much is your own homebrew?

it's actually almost all raw! i changed a few things for sensitivity issues (i can't dm the incest and racism in the module, and my players didn't want to have to play through it either so it worked out) but it was mostly just taken out. the exception are the belviews who can't just be taken out, so i made them be the survivors of the berez flood with their own reason for wanting body mods that my players don't know yet. still not the most normal folk, but the abbot does treat them kinder than in the module lol. the biggest thing i homebrewed was putting escher in vallaki because a player wanted a slowburn romance with a vampire who wasn't strahd, but don't worry he had a bad reason to be there and it hasn't been easy for them. other than that, it's almost all RAW, but not just what the module says, if that makes any sense? i did some extrapolating and connecting things to characters' backstories, but it's nothing that isn't at least implied in the text or that you can't connect some dots for (and. getting rid of the something blue. sergei's still there, ireena just doesn't do that. just because the module doesn't understand her narrative purpose frfr)

i use three homebrew things: the lunchbreak heroes VR's tower, as well as their idea of doing quests for the revenants to set them free (just tweaked to fit our storyline a bit more), and the interactive tome of strahd but i don't remember who made that one (but again changed to my liking)

OH lastly i also made arik talk. not much, and not saying anything of value, but it led to an iconic conversation where they were taking notes so i went "it's arik. with an a." and they nodded and were like "right a-r-i-c :) thank you" so i had to go "it's also spelt. with a k."

3. What did your players do with Doru?

it's a bit of a mystery to them exactly what happened after they left. one player convinced the party to leave him alive, and the vampire in the party gave donovan a little written note on how often he'll probably need to be fed. she had good intentions but it certainly changed how things are in barovia the village right now

5. What's the biggest curveball your players threw at you? Or just something wild/funny they did?

i was surprised by just how much they try to have minimal impact. i don't mean it in a negative way, they just really go through the world trying to keep the status quo exactly where it is with the reasoning that everything will get better when they kill strahd. they do good turns here and there for sidequests (the revenants, the martikovs, arabelle) but when it comes to big actionable things like vargas vs fiona, izek wanting to protect ireena, and the abbot, they try really hard to get everyone to just put everything on pause until strahd is dead

but for an actual curveball, they went back to the abbot to get lydia's dress at one point, and they pulled a rules lawyer move on him. "we didn't say how long we would let you borrow the dress for." the abbot as i play him could only just

and return the dress. he doesn't like them any more. they're bringing the dress back to him though after realizing it's probably a good idea to have someone who can cure all diseases and raise the dead on a whim on your side.

7. What's your named character death count so far? (Players, friendly NPCs, villains.)

surprisingly low! 5 iirc. one pc, one npc related to that pc (rue and mikael respectively), father lucien, lady wachter, and kiril. related to the previous answer i guess, my players really try to navigate as quietly as they can through the world, and those were just these situations that were unable to be dealt with without death. they didn't even kill the hags! (strahd was the one to kill lucien, to clarify. my players liked him)

[miyakuli]

Eliza

Eliza is a rather linear visual novel that puts you in the shoes of Evelyn, a young woman who acts as a human link between an artificial intelligence and patients in need of psychological support.

As the rise of AI is one of the most topical issues of our time, the game offers an interesting analysis of our technological evolution and whether or not it can really help humanity.

❤ Beautiful art direction, with a hand-painted look for the characters and fairly detailed sceneries. ❤ The dubbing was very convincing, especially for the patients, where emotions flow naturally without exaggeration. ❤ A good portrayal of mental illness, whether depression, anxiety, mood disorders, etc., without caricature. ❤ The phone game, Kabufuda Solitaire, kept me busy for a good hour to reach the expert level ;) and the pixel art relaxation application is pretty cool as well <3

+/- The game has several replayable endings, but the whole thing remains fairly linear, with choices having little impact on the storyline. Only the ending is really different. I regret that there aren't more interactions during the consultations, as I would have liked to see more confrontations between human and technological relationships (and the consequences of each). +/- The game is not intended to be Manichean, but rather to lead us into a personal reflection on the use of AI (in psychology in this case), its strengths but also its potential drift…. however, one of the characters at the head of Eliza's company is portrayed a little too negatively compared to the rest, which would tend to influence our opinion.

✖ Music and ambient sounds are too discreet or absent. ✖ While the game succeeds in questioning us on that subject, it forgets a little about the main character, who evolves almost too quickly (the game being quite short) and could have been developed further. By the end of the game, I didn't feel I knew her all that well. ✖ The interactions with the scenery don't add much, and I had the impression that they were there just to stretch the game a little bit more.

Eliza is clearly a game in tune with the times, encouraging us to make up our own minds about the implications of AI for different branches of our society, without being overly moralistic. However, it still managed to make me uncomfortable with the AI's overly cold and mechanical exchanges, so it reinforces my belief that human relationships remain irreplaceable.

➡ My personal VN ranking (in french) ➡ My Steam page

[jennycalendar]

coming back with some more thoughts on ted lasso --

i did not like how they handled sam. i think it's a mark of progress and how far things have come but at the same time a spotlight on the new problems created by underlying racism/racial anxiety, even within the most loving narrative.

sam's storyline was all over the place! there is definitely a through-line, but none of the things he faces are about him Growing and Learning, really, because he is Already Perfect And Good. his narrative purpose is to serve as an example of how a good dad can positively impact you going forward, which is great, but they will just throw random shit at him like the stuff w/ edwin akufo and then just never fully resolve it! i think it's so so clear that they were making an effort to research and represent nigerian culture, which is wonderful in and of itself, but there is this really sticky issue with race within ted lasso that keeps showing up and i do not like it.

edwin akufo is a one-note character who shows up, torments sam, and then disappears from the narrative after he is bested by rebecca, without ANY explanation as to how this besting impacts his stuff with sam. are we to assume that, because his plans for a football league fell through, he's backed off re: sam? his frankly obscene amount of wealth which the narrative CONSTANTLY alludes to is very clearly more than enough for him to torment sam until the end of time, and he very clearly expresses a desire to do this -- yet the finale shows sam ostensibly a part of the nigerian team, with no bumps or hiccups! edwin akufo is never brought up again!

and also like, shandy? why was she necessary? we have only had two women of color in semi-regular roles and one of them is presented as an impulsive, unkind, selfish nightmare. it really fucking sucked to see that, and it feels weird that ted lasso's line of defense against negative portrayals of women of color is having one Really Really Good One and one Really Incredibly Bad One. there was no need for shandy to be a woman of color if her entire point was to Be Terrible and Then Leave. she was a wholly unnecessary character to begin with & to make her a woc is just icing on top of the cake.

BUT I DIGRESS. i'm bugged the most by sam because, outside of nate, he is the nonwhite character who gets the most screen time! (and the fandom racism towards nate TURNS MY STOMACH, but that is not actually an issue that exists within the text of the show itself, so i'll leave that alone!) i think there was definitely an understanding within the writers' room that portraying a dark-skinned black man as sensitive, soft, and emotionally intelligent was a deeply important move for representation, but they just did not go that extra mile and actually create a consistent storyline for sam. he could have absolutely been that gentle, perfect guy without throwing in That Cartoon Villain Ghanaian Billionaire who shows up to yell at him and be terrible and ruin his life (and then, after one angsty episode in s3, disappear without explanation, clearing the way for sam to do whatever he wants).

it kinda reminds me of colin -- that finale bugged me re: him too a little! certainly it was utterly wonderful to see him kiss his fella at the end of the game, but the way we left things with him was very clearly "the team knows, and that's enough for me." this guy has been closeted for the entire time he's been a football player. telling the team was already so much more than he ever planned to do. kissing his boyfriend in public in the middle of the pitch, where any number of cameras would likely have picked up on them both??? PEOPLE ARE GOING TO SEE THAT. i found that one really hard to swallow as well.

it just bugs me because there is absolutely this understanding of systemic oppression that hovers around the edges of ted lasso, but then they will do things like everything that they did with sam! an awareness that There Is A Problem, but no time spent on the solution. and i totally understand that, tonally speaking, systemic oppression is not ted lasso's focus -- but this season they went out of their way to Make It Their Focus! & yet we get this absolutely bizarre storyline for sam where they just don't tell us what happened or why akufo backed down or ANYTHING. despite multiple hour-long episodes this season. don't like it.

[midnightrings]

So, I watched the latest episode and I have a lot of thoughts about it. Tbh, I feel like this should’ve been 2 episodes instead. I really loved Hawk and Tim’s dynamic here, plus I needed more 80s scenes and Markus/Frankie. But anyway … what I was thinking about most is where the show will take it from here.

I was really curious to see how the show manages to show Hawk and Tim in the 60s without revealing anything about the ’57 stuff yet. And I was also hoping they’d show some hints to what might have happened, but … I feel like there were basically no hints at all? At least nothing obvious. I only watched the episode once, so maybe I’ve missed something, but if I didn’t know that they met again in ’57, I don’t think I would’ve assumed that much happened between episode 5 and 6. I mean, Hawk and Tim definitely didn’t talk like people that haven’t seen each other in over 10 years, but it doesn’t seem as if anything drastic happened.

I’ve been wondering for a while now if maybe Tim doesn’t know yet about whatever Hawk did in ’57, and won’t learn about it until some time before the 80s scenes. Mostly because this could explain how their relationship (kind of) continues into the 60s and 70s. Tim does appear to be way more wary of Hawk in this episode than before, but Hawk also doesn’t really seem to show remorse or anything that could hint at him doing something horrible to Tim. It even seems like he wants to get back together with him. So maybe, there isn’t any actual ‘betrayal’ on Hawk’s part.

I haven’t really kept up with any behind the scenes stuff, so I don’t know if there’s anything mentioning that Hawk will betray Tim in ’57. The only reason I thought something awful will happen is because of the storyline in the book, and the fact that the ’57 scenes won’t happen until the last episode. But at this point, I honestly find it difficult to believe that Hawk did something unforgivable to Tim. Though he is a complicated and troubled characters, so maybe he still did – I guess we will see.

I’ve also wondered whether the letter Tim wrote to Hawk might come into play at some later point. I mean, I do hope that Hawk learns about it, but maybe the letter will be overall more important to the storyline. I don’t think that it has to be important – it already functioned as a bridge between this episode and the ending of the last one, and was used to let Lucy know about Tim. But maybe the letter also had some impact on whatever happened in ’57.

I’m not really sure when the flashbacks in this episodes are set. I don’t think there was any mention of the year? (But please correct me if I’m wrong) Considering Jackson is probably like 12/13 in this episode, I guess the flashbacks happened some time before ’57. So maybe Hawk not reading the letter will have some consequences. I don’t think those have to be heavy consequences either. Tim believes that Hawk has read the letter – so if Hawk continues to disrupt his life, despite Tim telling him repeatedly that he needs to leave him alone, I can see how Tim might start feeling resentment towards Hawk. So there might not be an actual betrayal on Hawk's part, but their relationship in the 80s is just the cumulative result of Hawk's actions throughout the years.

Another thing I’ve been thinking about is what might happen to Jackson, and how it might impact Hawk and Tim’s relationship. I’m going to assume that he will probably die in the next episode. And judging by what we learned about him in this episode, I think it’ll either be suicide or a drug overdose. And maybe, Hawk will be away with Tim when this happens.

Considering that Lucy (rightfully) called out Hawk for putting his family in danger, and the constant conflict between his family and Tim in the 80s, I can definitely see him not being there for his family when his son dies. Jackson directly talked about how Hawk’s lies (or his parent’s lies in general) affect him negatively, and if Hawk loses his son while he’s with Tim, he will definitely feel responsible for his son’s death, and as a result of his guilt, might decide to cut all ties with Tim. I guess we will see next episode.  

Honestly, I love how there’s only 2 episodes left and I still don’t know what direction this show will take. I really thought there would be a clearer picture after this episode, but if anything, I just ended up with even more theories lmao