#Course Reflection

[liumilai]

rebinging tma again here’s a redraw of that one photo but it’s s1 jon

[gummi-ships]

Kingdom Hearts 3 - Nobodies

[patopq]

forever thinking about caleb's tower's 8th floor password being "gone, but not forgotten"

And that fucking line in "O mighty nein"

[s-aint-elmo]

girl who has suffered more than alll-mer

(ID in alt text)

[tls12lessthan3]

posts inspired by the orv yuri discord's discussions about yoo joonghyuk's long journey of exploring her identity and learning to understand herself, which results in a coming out that kim dokja responds to in the most insane case of monkey see monkey do by going 'well, i guess we're women now' and trying to subtly copy yoo joonghyuk's outfits.

[molinaskies]

An interesting “side effect” of the canonization of the “classic era” meaning “younger era” is that the classic era now reads as “cute fun times” before the core cast became teenagers/tweens and things got super, super complicated.

Because the characters are “younger,” there’s an air of “little rascal innocence” to everything they do now. The new releases like Mania and Superstars now feel like little throwbacks to the young heroes just learning how to work together and make a difference in the world.

I don’t think this is a bad thing at all.

[bitchthefuck1]

I actually really love that we see Helena's palpable hesitation about going back to the severed floor. We know that this has all been a publicity thing for her and it's about helping Lumon, so she's really invested in the outcome, but like. from her POV, she's literally letting someone who actively hates her and everything she stands for, and also has a proven willingness to hurt herself if it means hurting Helena, who now knows who she is and her significance to Lumon, pilot her body for 8 hours every day in an environment where they've repeatedly failed to control her. If I were her, I'd be genuinely surprised to wake up with my limbs intact.

You already questioned why on earth she'd come back after Helly's suicide attempt, and the identity reveal explains the reasoning, but on a human level that's still a wild thing to have to think about. This person (who is you but also isn't) almost succeeded in killing you, and like a week later you let them pilot your body again like nothing happened. How could you not be terrified?

[divineandmajesticinone]

BLUE PERIOD ブルーピリオド (2024) "When my artworks are criticized, I totally lose my footing."

[arcadecoconut]

There's a lot of great meta about how Bells Hells never seemed to realise how powerful they became over the course of the campaign, and how this skewed perspective gave them a strange and at times hypocritical relationship to authority. There's also been a lot of discussion about how having a single-focus plot established early in the campaign was detrimental to individual character development, but I don't think I've seen much about how the single-focus plot is directly connected to their ignorance about their own power level. I think one of the key benefits of having various smaller arcs across c1 & c2 was not only that it supported individual character development better, it also gave the parties a sense of their own growing capability and power scale in the greater world. By having distinct arcs with enemies who were overcome and defeated, the PCs have concrete evidence of their own growth. Each arc follows a mini heroes journey too. For the MN, the Lorenzo and Obann arcs both involve PC characters being killed or overtaken early on, setting high stakes and establishing difficulty. Eventually, with persistence and planning, the Nein were able overcome and eventually defeat them. For Vox Machina, it's the Briarwoods, then the Chroma Conclave, then Vecna. At the start of each arc, every mission feels like an impossible task but again with persistence and planning, they conclude each arc in a stronger position - not just on their character sheet, but with concrete in-world elements too - the resources of Whitestone, key allies in powerful government positions, etc. These victories give each party a material sense of their achievement, which is mirrored by their internal acknowledgement, which is so natural it's mostly not explicitly acknowledged unless they're pointing out how they're capable of stepping up and helping more people. Bells Hells, by comparison, got very few distinct arcs. As a result, they never really achieved the same smaller victories to give them a sense of escalating power and agency over the course of the campaign. To be clear, it was possible this could have been achieved anyway, even within the constraints of the moon-plot. Defeating Otohan, defeating or flipping Lilliana, severing the alliance between the Unseelie Court and Ludinus, explicitly winning allies out of The Volition, or the Grim Verity, or Vasselheim and the Judicators - each of these could have been distinct arcs with victory conditions that would have served as markers of Bells Hells growing power. If they'd had concrete mini-goals to achieve along the way to dealing with Ludinus/Predathos, they could have taken time to focus and plan. In this way, we could have gotten larger investment into the world and NPCs. Imagine what it could have done for her personality if the party had to research Otohan’s role in the Apex War! Maybe if they needed to broker peace between the Grim Verity and Vasselheim to unite them against a greater threat, we could have seen Bells Hells establish their own authority in Exandria. Instead, all these potential villains and world building hooks ended up largely ignored or accidentally achieved along the path of some other muddy goal. By not giving the characters this sense of growth, BH and particularly Ashton and Laudna ended up with a very skewed perspective of themselves. They never realise their power grew well above average, putting them in a much more privileged position than the average Exandrian. It’s this skewed perspective - and their resulting attitudes towards various NPCs - which gave many viewers an 'ick' factor about their interactions. I also can't help but juxtapose this with exu: divergence, where the party's relationship to power (both their own and others') has been a core element. Their story has also been conducted over a very short time period in-world, yet their responses show a marked difference in awareness and empathy.

[rhaenyras-alicent]

can't stop thinking abt the concept of arthur hearing about this 'emrys' throughout different occasions here and there in the beginning of s4, and at first not thinking much of it, then when the name keeps getting repeated from different villains/sorcerers he interacts with, it finally catches his attention and he becomes genuinely concerned. he makes it a bit of a personal mission to find out who he is, but it's all a very lowkey side plot that's not the main focus (think of the 'traitor' arc also in s4). of course he talks about it with merlin, but to avoid suspicion, merlin shuts him down every time and tries to make him think this mysterious sorcerer is nothing to worry about.

as more time goes on, and the more arthur learns about this powerful sorcerer always protecting him from harm, and as much as he hates to admit this to anyone, most of all himself, as he's only ever been taught to hate magic and anything to do with it- he starts realizing 'emrys' is less of this evil entity that he has to hunt down and kill, and more of a guardian angel that he has genuine interest now in getting to meet. which would also be interesting in terms of contradicting morgana's plot in the same season.

then, in the s4 finale, something that merlin does or says at the end makes him finally connect the dots. he says nothing. the season closes with him just.......... left with the unbearable conflict of it all. the feeling of absolute betrayal from his own friend- the closest person to him that he turned out to not really Know at all, the anger at being lied to and his own obliviousness, all with also the gratitude to this man who has been protecting him without asking for anything in return, the confusion of why he's doing any of it, and the question deep down whether he even deserves it. he is just. left with so many questions and contradicting feelings that he just... says nothing. and we are left with this as the cliffhanger for s4's ending.

[zhongli-lover-69]

[peliginspeaks]

I think having "Nightmares" encompass all psychological troubles is an interesting and honestly pretty fitting decision for the game, given the time period. With Freud being on his peak nonsense at the time, ascribing lots and lots of meaning to dreams was becoming fashionable, and there's a certain elegance to considering yourself to be Plagued By Dread Visions! instead of just...coming apart at the seams from the stress of it all. You're losing sleep because of the nightmares, not because of the things that caused them and their effects on you. You're mumbling to yourself and jumping at shadows because of the lost sleep, not because of that other stuff. Just get somebody or take something to fix the dreams, that's the trick! Nothing you have to acknowledge. Nothing unseemly, and nothing outside of your control. It's so very Victorian. It's sad, in a way, when you see it as an attempt to apply a cultural attitude of denial and carefully constructed (performative) self-mastery - that already didn't work well for the real time period it came from, mind you - to life in a cave that kills and traps you and is filled with horrors both beyond, and unfortunately well within, your comprehension.

[elkinboots]

WELCOME to the beginning of a silly fun idea - i've airdropped the tetro cast into one of my favourite games, Blue Reflection Second Light! I think a summer in oasis would fix them.

i'm not saying that tetro and BR2 have the exact same premise or tone, but there are enough similarities in storytelling & tropes i enjoy that really scratch an itch in my brain in each. also, i love making characters into magical girls and giving them guns

watari would adore blue reflection 2

i've split the characters here into girls (and okazaki) and boys, but you can imagine them as one big happy group too. moko's there no matter what <3

you don't have to be up on the lore and junk, i like to describe BR2 as 'the magical girl commune game' (a heartscape's like a dungeon born of your life experience and imagination - everyone gets one, usually as you collect each character they unlock for you to explore)

expect more of this! they don't even have their magical girl outfits yet (and br2 is all about hanging out, my favourite thing to doodle characters doing)

[fluffyk97]

Sonic 3 spoiler rambling about Sonic and Shadow under cut !

Y'know something that I feel might go lil under-appreciated is how well they made Sonic and Shadow mirror each other in the movie.

Like something that always can easily irk me are people boasting one of the two over the other because from the very beginning of his introduction to the series, Shadow's character is meant to reflect Sonic. They're meant to be equals that are so similar and complete opposites at the same time.

With the movie, I honestly wasn't expecting it that much. Sonic actually has a backstory that is just like Shadow's: powerful little hedgehog that is wanted for his power, so the one he's known his whole small life that he loves sacrifices herself to save him.

I fr fully expected Sonic to learn about Maria and be like "I lost Longclaw, I know you're pain, but-" blah blah blah- BUT they don't do that??

Of course, we have Commander Walters first telling Sonic that Shadow's story is a lot like his but wasn't able to find family and friends, and Sonic does find Shadow had a family from finding a picture of him and Maria together. He never gets told what happened exactly though, although it wouldn't make too much of a difference with the fact they did change up Shadow losing Maria just a little bit.

Since they didn't live up in space, Maria didn't have a capsule to send Shadow off with sacrificing herself and instead they made it an accident. WHICH- can be understandable if people don't like that, however personally I don't mind it that much because honestly the intent to shoot Maria was there, but she ended up being lost from an accident caused by Walters.

Which, ties in to Shadow hurting Tom...

Walters in trying to help save Maria's, Shadow's and Gerald's lives unfortunately led to Maria's death and watching Shadow be put in stasis for 50 years where all he thinks about is that painful memory burned fresh in his head. So of course when Shadow sees Tom disguised as Walters, he takes his anger out on him by hurting him while also stealing the key for the ARK. Leading to unfortunately another scenario of where the intent of harm is there, but someone still got hurt from an accident because Shadow never really meant to hurt Tom. But he does anyway..

Which of course in turn, makes Sonic mad just like Shadow was 50 years ago. Only difference is Sonic doesn't get immediately captured by GUN and forced into stasis. Letting him able to go straight to Shadow afterwards for hurting his family.

We have Shadow take note of all of that himself, telling Sonic he's feeling exactly the pain he felt and Sonic being the one to say "I'm nothing like you!". Just like how I thought Sonic would tell Shadow about Longclaw in hopes of redeeming him, but reversed and both sides full of anger and grief.

One awesome super fight later though, we come to the talk on the moon. Probably my favorite part in the whole movie. outside of the super fights and Live and Learn playing lol

After mentioning Tom and getting uppercutted straight to the moon by Sonic, Shadow loses his super form, leaving him vulnerable, easy for Sonic to take his revenge on him. Only for all of that to be stopped because of Shadow pointing at his own chest which reminds Sonic what Tom told him at the beginning of the movie and calm down.

"You didn't let pain change who you are."

This completely baffles Shadow, with him actually wanting Sonic to finish it, but of course Sonic just refuses saying "No one wins with revenge". It just leaves silence between them, finally giving Shadow his own moment of remembering Maria outside of her death by looking at the stars he used to gaze upon with her.

He mentions it to Sonic how all he knew and felt was just the pain, and now finally- FINALLY, Sonic mentions how he shares that feeling of loss from Longclaw. Not in a moment of trying to just redeem Shadow without the full weight of it, but in a moment of understanding.

A strong moment of these two looking at each other in a mirror, eye to eye. Sonic, who was allowed to grieve all those years ago after losing Longclaw, telling Shadow the pain of loss will never go away, but the love will always remain.

"The light shines, even though the star is gone."

And through that shared pain and loss, now coupled with empathy and understanding one another through it. They truly connect.

Sonic and Shadow's dynamic was just done SO WELL in the movie and I couldn't be happier with it...

[3liza]

this is such a dumb post im about to make but im trying to watch Ryan Murphy take a run at Hannibal and doing it mostly incoherently (a show called Grotesquerie) like he does everything but it reminded me that the trope in both crime media AND real life criminal forensics is that assumption that for a killer to do something a certain way, he has to be or is more likely to be a professional in that field. the old chestnut that jack the ripper or whoever must be a surgeon or a mortuary worker or a butcher in order to "know anatomy" is complete nonsense. i know how to do so many things that have nothing to do with my actual job or training, including butchering meat, and cutting up a dead body takes like. less than "deboned a chicken five or six times" levels of expertise.

its really not some rarified skill and its pretty self-explanatory as soon as you start separating joints etc. i imagine it only takes a couple minutes of trying to saw through a human femur with garden tools before you start looking around for a better way and then figure out on your own that separating cartilage is a lot easier. which is why there are so many actual irl cases where entire human corpses have been dismembered in a fairly short period of time in order to fit them into luggage or trash cans or barrels, and the killer was just some guy. you dont need any expertise when cutting up OR sewing together parts of a carcass because surgical expertise is about doing as little damage as possible and maximizing survival, which doesn't apply to doing morbid tableaux with people who are already dead, or concealing a victim in a crawlspace or what have you. its an incredibly dumb thing that people say both on tv and in real life and its so annoying. this applies to really any forensic claim about expertise with the exception of skills that actually do take many years to get even vaguely competent at, like idk, drawing realistically. like if you are the fictional detective and you found a blood painting with excellent draftsmanship at a crime scene, that would probably be forensically relevant because not a lot of people know how to draw and its not something you can get GOOD at without a few hundred hours of investment. but just cutting up meat and sewing it back together? and not even taxidermy or tanning or skeleton articulation or clean maceration or whatever???? not relevant. tired of seeing it in crime media. its dumb. actually being able to set up a department store window scene with 200lb human bodies without them falling over or liquifying or collapsing takes a lot more specialized experience than slicing and dicing. like if i walked into a church with a bunch of dead people arranged as the last supper i would be looking for someone with a theater tech degree, not a surgeon

[dannyphannypack]

danny fenton lied astronomy isnt fun at all. what do you mean solve for the luminosity of the earth i thought we were gonna look at cool space rocks