voidofcourse8

[voidofcourse8]

Bloodborne Poem

This is the three parts of the poem of the dlc. First part is spoken when entering the dlc by a woman we don´t know. The second and main part comes from the villager at the hamlet after the maria boss fight. As far as I can tell its a rare dialog from him, as I got it even without the milkweed rune. Lastly the third part is heard when the last story boss of the dlc is defeated. Curse the fiends, their children too, and there children, forever true. curse here, curse there. A curse for he, and she, why care? A bottemless curse, a bottenless sea, source of all greatness, all things that be. Listen for the baneful chants. Weep with them, as one in trance. And weep with us, oh weep with us… Ah sweet child of kos, returned to the ocean… A bottemless curse, a bottemless sea. Accepting of all that there is and can be

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Okay, here’s an interesting one.

Before seeing your content, I’d basically only ever heard the term “power fantasy” used as a derogatory term to describe over-the-top protagonists who are strong and cool, but also boringly devoid of personality so the audience can project onto them. But then some of your League videos talked about skins letting characters like Gragas “inhabit more interesting power fantasies.”

So… when are power fantasies a good thing? The best I’ve got is that it only works in interactive media like video games so that the audience can more directly engage with the fantasy (essentially: Dante from DMC works, Kirito from SAO does not)

I mean, power fantasies are just endemic to storytelling as a whole. There isn't really a hard "this is when they're good, this is when they're bad," they are core to several genres of media and can't be extracted from them. Most video games are power fantasies, just by nature of their mechanics.

Power fantasy isn't a genre (usually), it is just a tool, same as any other trope or convention. It is a means to engage the audience with a story.

An RPG where you level up and become stronger to defeat more difficult enemies? That's a power fantasy. Undertale where you get the best ending by finding some way to spare absolutely every monster and end every fight mercifully? Power fantasy. The Tomb Raider reboot games that take an almost sadistic glee in putting Lara Croft through absolute hell both physically and emotionally? Those are power fantasies about overcoming and surviving those impossible challenges.

They're not just power fantasies, they have lots of other stuff going on, but power fantasy is an inherent part of them. Romance stories also often include power fantasies, specifically about the power of love. "He's broody, dark and broken, but my love can fix him" is a power fantasy, for example, as is "an unjust society keeps us apart, but we will defy everything to be together!"

Even being The Final Girl who beats the horror monster and walks away at the end of the movie can be a power fantasy, if a rather grim one.

If there is a general case where power fantasies become "bad," I think it is when the power fantasy is all there is, and it subsumes all other parts of the story. Shonen manga often runs into this as they get longer, and the power system and escalating battles against ever more powerful foes become the overriding driving force of the story, to the exclusion of everything else. Shaman King comes to mind for me as a particularly egregious example, or Bleach.

Isekai is also riven with this. You can't walk two steps these days without tripping on a "TRANSPORTED TO ANOTHER WORLD WITH MY SUPER OP CHEAT SKILL" premise, where the entire purpose of the story is simply to act out unchallenged wish fulfilment with no friction or tension or character development. Those stories get boring very very fast... unless of course the power fantasy being played out is your specific power fantasy. Yes, OP protagonists winning everything with no challenge is boring, but this OP protagonist is building a sapphic cottagecore witch polycule with an ever-expanding harem of emotionally damaged lesbians, so... y'know. Maybe I'll give it a pass.

It's generally less interesting and useful to observe THAT something is a power fantasy, than it is to observe WHAT KIND of power is being fantasized about. Zombie apocalypse stories are often power fantasies, for example, but there's a pretty noticeable difference between stories where the power fantasy is banding together and building a life with a found family in horrible circumstances, stealing joy from the end of the world in spite of everything... and stories where the zombie apocalypse is an excuse to enact paranoid right-wing prepper fantasies where the hero protects their property (home, land and women) against the verminous hordes of the monstrous Other, and is reified and uplifted by the employment of brutal violence.

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[Link]

Under the "has cleared its orbital neighborhood" and "fuses hydrogen into helium" definitions, thanks to human activities Earth technically no longer qualifies as a planet but DOES count as a star.

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I absolutely love these!!

random asoiaf faceclaims of mine

ashara dayne & arthur dayne

daenerys stormborn & viserys targaryen

rhaegar targaryen & elia martell

theon greyjoy & asha greyjoy

arianne martell & quentyn martell

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Okay here’s an ask game

Send me a ship and I’ll answer three questions based on if I ship it or not.

Ship It

What made you ship it?

What are your favorite things about the ship?

Is there an unpopular opinion you have on your ship?

Don’t Ship It

Why don’t you ship it?

What would have made you like it?

Despite not shipping it, do you have anything positive to say about it?

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watching 4chan die as a tumblr user is like. its like watching another titanic hit another iceberg and sink faster right in front of the already sinking titanic that youre on

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please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

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Clean it up hiro….

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You know, we probably should have expected The Thing From Tomb of Dragons given that Iäna Pel-Thenhior literally friend-zoned Thara in the first book -

🤣

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Harry Collett as Jacaerys Velaryon

2.04 • The Red Dragon and the Gold

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saw someone say that gellert would be a better guardian of a kid than albus and im like... are we talking about the same characters here? the dude whose every interaction we've seen with children or sort-of-children (credence...) being violent? dude killed a baby, was abusive towards credence, only wanted to get close to modesty in FB1 to use her because he believed she was an obscurial, he has constant moodswings that make him violent and he also is a fascist....

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*In a church*

Sirius: Why are you looking at me like that?

Regulus: I just don't wanna miss it when you burst into flames.

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Sirius getting in trouble and McGonagall not calling his parents because Sirius was disowned, but also not calling the Potters because they had to take care of talking to James.

So, she decides to bring Regulus to her office and just let him yell at Sirius.

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just. dropping this here

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Regulus Black.

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we few, we happy few by poppythorn

Summary:

She never planned on befriending a Gryffindor—she still didn’t. What starts as an ill-conceived scheme to get James Potter to stop tormenting her spirals into reunifying the estranged Black brothers and accidentally sabotaging Lord Voldemort's plans for domination. Because nothing says friendship like insisting everyone leave you alone so you can focus on your alchemy project and fix the second-floor lavatory. (Or: How one Slytherin stumbled into saving the wizarding world and somehow got the Black brothers to have a civil conversation.)