#and difficult on purpose

[tennessoui]

#30 for the ask game!

ahh thank you for sending this :D

[from this prompt list]

30. Your OTP gets to pick out each other’s outfits; what is each wearing?

Anakin whips his head around the moment he hears the doors to the mess open again. But the gleeful anticipation in his chest curdles and then collapses in on itself when he actually sees his master making his way, head held high, towards him.

They'd both lost a wager against their troops through no fault of their own. The simple question, who can knock out more droids: the clones or the Jedi? Do you want to wager on it? had felt like it had an easy answer before the battle. But then at the onset of the charge, Asajj Ventress had been spotted and Obi-Wan's priorities had shifted to capturing the sith acolyte. And then, naturally, Anakin's priorities had shifted to following his master for his own good.

This meant that, altogether, the Jedi destroyed twelve droids. The clones destroyed almost five hundred.

At least, in recognition of their bravery and service to the Republic, Cody and Rex on behalf of the 212th and 501st had allowed a slight change in rules. Anakin was to pick an outfit for Obi-Wan to wear, and Obi-Wan to pick an outfit for Anakin.

Anakin hadn't even been surprised to walk into his quarters and see a replica of Jedi robes, in Obi-Wan's preferred tan and white, laid out on his bed.

He'd been fourteen when he started dressing in darker, nontraditional colors. Browns complemented by blacks complemented, for a period of about a year, by dark reds. He'd sought out difference as a form of self-expression, and he'd known instantly that his master had had his worries about it and what it could signify. If it meant Anakin was turning away from the Jedi or distancing himself in small but meaningful ways.

So of course, given the chance, he'd given Anakin a uniform of almost offensively white and beige attire. Anakin hadn't expected anything less. If Obi-Wan wanted to see him in the typical attire of a Jedi who was he to deny him for one meal? After all, Anakin had requested that the 501st's quartermaster mock up a trooper's shiny uniform for Obi-Wan to wear. He'd spent the last three hours thinking of quips to make, jokes about Obi-Wan's apparent inexperience, about his height in relation to the trooper standard.

And yet when he turns around, all those jokes die in his throat as he sees his master moving across the mess towards him, dressed only in the tight black body suit that troopers wear beneath their armor.

Anakin thinks for a wild moment that he's going to choke on his tongue.

Thank the Force that when Obi-Wan stops in front of him and finally allows his eyes to roam over Anakin's own outfit, he looks, strangely enough, just as affected.

"Oh," Obi-Wan says quietly, eyes filled with some strange emotion that Anakin instinctively shies away from. "They suit you, dear one."

"Master," Anakin replies in a voice that comes out far more strangled than he intended. "Where the kriff are your clothes?"

[yellow-yarrow]

Dolores Dei web weaving / art history connections

[raconteur-wanpi]

Egghead from Stella's POV is very funny.

[galaxymagitech]

The fanonization of Tim Drake is completely unsurprising and actually a core function of his character. Fanonization is often facilitated by particularly relatable or flexibly-characterized characters, often termed “blorbos,” who inspire the audience’s sympathy, recognition, and/or imagination. Considered in historical comics context, the character of Tim Drake—including his hobbies, relationships, and personality—was constructed to be perfectly relatable to contemporary audiences. Over the next few decades, Tim Drake was propped up as a vessel for both readers’ and authors’ projection. It is no surprise, then, that Tim Drake’s fandom takes advantage of this built-in “blorbo” and interprets his character in wildly different, often extreme, ways, ranging from “poor wet cat” to “cold blooded killer” to “the most competent neglected seven-year-old in existence.” In this essay, I will—

[satoblue]

satoru has this thing where he loves it when you playfully hit him in front of others. not a hard smack or anything that would actually hurt (not that anything could really though he might wear a pout to guilt trip you into kissing his boo boo away) — but more like a little swat — maybe to his chest or arm when he is being inappropriate. and it is not that he can’t take a hint — he just likes the dynamic. the way you step in to scold him and put him in his place. he might even act up a bit more than usual just to get that reaction from you — to remind everyone around that you are the one who keeps him in check. and it is all on purpose. every bit of it intentional as everything he does is. gojo satoru is only ever listening to one person — and that is his wife. and if anyone else needs to put him in line — they know exactly who to call.

[three-fold-symmetry]

Day 3 of @subcodyweek - Prompt: Praise kink

They didn't train him for this on Kamino.

[wearecrowley]

guard dog crowley reporting for duty

[bethanydelleman]

Edit: Turning off reblogs on this post since I've been told it contains misinformation. Also, someone reblogged it with a huge rant and blocked me (as far as I can tell), leaving me unable to reply and with only partial notes and that freaks me out.

So I was telling someone about my boy, Sejong the Great of Joeson, who deserves that title "great" since he was so concerned about illiteracy that he created the easy-to-learn Korean alphabet (Hangul) by himself, but then the nobility got mad about all these reading peasants and tried to ban it. And my friend says, "Oh, I thought illiterate poor people in the past were just lazy."

And I was like, "No, no, you don't want your indentured servants and peasants reading and figuring out how much you are screwing them over. The adapted Chinese characters that Korea had been using took years to learn so it was a natural gatekeeper of knowledge."

And then, because one must be fair, I went on to explain how Europeans locked up their knowledge behind Latin, especially the Bible, and how it was so important that Martin Luther translated it into everyday German, because once you can read the Bible yourself, you can challenge the almost absolute power of the church. Only the rich could afford to learn Latin, so only the rich could read the book that their entire society was allegedly based around.

I do think things are much better today, but why are most scientific papers paywalled and scientists sometimes act as if they should be treated like infallible priests...

Edit: I wanted to end this post on a happy note, but then I started thinking about paywalls and it made me a bit depressed. We still do make our best knowledge less accessible to the average person and I hope we can do more to change that.

[feletida]

Faster than a speeding steamtank!

[autocrats-in-love]

Prompt (497)

“No one move,” the hero says slowly, not taking their eyes off the explosive.

Everyone in the room froze. Except the villain, who sneezed. It was obnoxiously loud.

“What did I just say?”

“Sorry! I have allergies,” the villain said.

[anghraine]

elizabethwydevilles replied to this post:

'Most "corrections" of Padmé's characterization I've seen essentially want to make her [...] not a tragic figure except by wild mischance or the missteps of other characters.' I honestly think people have a really hard job accepting that the prequels are a tragedy for *everyone* involved (except Palps). You see it in response to characters like Obi-Wan; the refusal to engage with the idea that a character can try their best and still screw up is hard to swallow.

Yes, very much so! In some ways it's even more marked with Obi-Wan, I feel, because ROTJ so clearly set him up as someone who failed tragically in the prequel era and who took away the wrong lessons from his own mistakes. OT/PT Obi-Wan is a kind, self-sacrificing, and well-meaning person who is not motivated by malice, but there is a moral arrogance to him, a hubris, that plays a significant role in the larger tragedy he is part of and that hubris lingers in the OT even after his death (with potential for further tragedy!).

I think there's a temptation to cast all these characters with fundamentally tragic flaws as solely victims or villains, but an important aspect of this kind of tragedy IMO is how these kinds of flaws collide and contribute to something far worse than any of its parts. The kinds of mistakes and flaws that we see in these characters lead to consequences that are both inevitable and unpredictable; no single one of these tragic figures could independently control or foresee what was going to result from all these different dynamics and maneuverings and choices, but at the same time, these choices do inexorably lead towards disaster. So you get the "well [x tragic choice] isn't what really caused the tragedy, because Palpatine" or "we need to fix [x tragic choice] because it makes the character Bad" without really engaging with the complicity (conscious or unconscious) of all these characters and the significance of their complicity to what the PT is doing as a story.

I don't object to "I want to imagine a happy ending for my faves" at all, btw—I do that all the time and it's not what I'm getting at. But when it comes to insisting that something must have been what "really" happened for the story to "make sense" or be "fixed" in the face of all evidence and basics of story structure, I find it tedious.

[fjordline]

[serpentface]

Etadinii priest (cult of Inyamache) standing near the serpent stone, a megalithic structure predating any historical record. Contrary to first impressions and occasional jesting, this is almost definitely not a giant penis (though Some level of symbolic phallic intent is possible), and was probably shaped to cast a long shadow resembling the head and neck of a snake.

Its location is within the present-day province of Wardin adjacent to the city Jaesai, close to the border of Ephennos. A temple to Inyamache was built around it three centuries ago and greatly expanded within the past century, though the stone and the majority of the associated site remains intact.

It is most likely at least couple thousand years old, long predating the written record and having only hazy and conflicting accounts in different oral histories. Most of its original features have been worn away by erosion, but petrogylphs of a snake and rows of scimitar deer (locally extinct or possibly never extant in this area), gazelle, and aurochs remain visible (and may have been re-carved at various points in history), and there are traces of concentric rings at the 'head'. 21st century level analysis would also find traces of ochre within the lines of the petroglyphs, which were painted and repainted red for at least a couple centuries after its creation.

This is the largest single prehistoric megalithic structure located within present day Imperial Wardin (unless burial cairns constructed over slab tombs are counted) and its existence is very technically impressive, especially given the nearest possible quarry is about 50 miles away. The builders of the site were almost certainly a fairly small society of nomadic pastoralists, so the diversion of time and manpower to the quarrying and movement of this stone (and others on the site) would have been absolutely exceptional. Most similar structures from the era are significantly smaller (about human height) and found closer to quarry sources.

The stone is part of a larger site that was mostly or entirely constructed in the same period. It stands adjacent to a shallow, rounded manmade pit buffered from erosion with brick walls, encircled by smaller horizontal slabs. A single circular slab is placed in the center, which is currently referred to as the sun stone. A nearby arroyo also shows signs of modification from the same period (beyond typical redirections for irrigation), diverting any potential floodwaters away from the site to prevent inundation of the pit.

The primary purpose of this stone and the site itself is recording the winter solstice. During the solstice sunset, the snake's cast shadow approaches and perfectly engulfs the circular slab at the center, appearing to devour it. The notion that the sun is eaten by a snake (either on the winter solstice, during total eclipses, or both) appears to have been a common thread in religious belief in the region. This notion is no longer held in the Wardi sphere (the night of the solstice is the sun's yearly death and total eclipses are a concerning premature and unnatural death) but still has linguistic traces, particularly in the word for total solar eclipses being a compound form of the phrase 'swallowed sun'.

Ownership of the site has changed hands numerous times over its history, but it has been in near-continuous use by all its owners as a place to observe the winter solstice and perform related rites. Virtually all proto-Wardi monotheist animist worldviews cast the sun (or sun + sky) as God and/or the source from which all beings emanate, and most considered the winter solstice to be an exceptionally significant (and potentially dangerous) moment in the year, as the time of the sun's dying and subsequent rebirth.

Within the faith of the 7-faced god, veneration of God has shifted to focus more upon the earth (with the sun as an Extension of the earth, all parts of God's body) but the winter solstice still retains extreme religious significance- it's used in part to determine the date of the new year (which occurs on the first new Nyaram moon on or after the solstice), and is still recognized as the moment of the sun's death.

The state cult of Inyamache currently maintains this site as part of the temple grounds and uses it to measure the winter solstice in the same capacity it has for millennia, using the total engulfment of the sun stone as the signal to begin their most important rites of the year. It is understood that it's at least Possible that the sun could fail to rise the next morning if proper action is not taken to ensure its rebirth.

The serpent stone stands in contrast to the brightly plastered and painted temple (and the other prehistoric slabs on-site that have received this treatment) in remaining unaltered in the modern era. The state cult holds that the serpent stone and its associated site was created by the first men, and considers the location and the serpent stone itself to be sacred and regulated by taboo. The only people permitted to enter the site and touch the stone are Etadinii priests (who cleanse it with water once per solar month). Solar eclipses (and subsequent misfortunes attributed to them) are occasionally blamed on trespassers.

[warmsol]

apologies for being a ghost the last week or so. life has a tendency to unexpectedly break your heart. haven’t felt like opening sims or even scrolling the dash. hope the energy to get back into comes around soon. ♥️

[rawliverandgoronspice]

re: sympathetic ganondorf vs evil for evil’s sake ganondorf, i think this is misrepresenting and underselling what’s actually offputting to people

“i’m evil because i’m evil” or “i’m evil because demise is evil” and the associated lust for power simply for its own sake has always been lame and low effort. there’s a reason it’s “shit tier” on the classic “villain motive tiers” thing

“i’m evil but there’s enough nuance to make the player at least somewhat sympathetic to me even if i’m still ultimately a bad guy” is a good thing that people like? i’ve never personally interacted with a zelda player who thinks windwaker ganondorf ruined the character or anything - he’s generally regarded as the gold standard of villain writing both in and out of zelda. this is roughly “high tier” on the tier chart

“actually TWIST i’m not evil at all, it’s the good guys who were evil all along, i’ve done nothing wrong and i’m completely justified in my righteous quest against the status quo, you’re the real secret true villain for being complicit in preserving it” is technically regarded as “elder god tier” on the motive tier chart but i would personally label it as “oscar bait tier”. these things *can* be compelling in conversation with the existing landscape, but often it comes across as a deliberate effort to subvert the audience’s expectations for the sake of being unpredictable (or worse, for the sake of proving you’re the smartest one in the room). in separate works where this conversation/critique is the entire point (eg. Watchmen or The Boys), that’s not necessarily a bad thing, and the audience sets their expectations accordingly. in an established, long-running franchise, however, this almost always reads as dripping with contempt for the audience, like walking into a room and going “you morons like this shit? let me, a person much smarter than you, explain what it’s Actually about, because you’re an idiot if you’ve been a fan of this series before now”

on top of that, in the context of a series like zelda, this type of story feels myopic and disrespectful to the future of the series. “welp i burned down the 20+ years of lore behind this character so i could do a deconstruction, good luck using them in any capacity in the future, sounds like a you problem”

all this is to say, i think it’s a bit disingenuous/strawman-y to suggest that people put off by this want ganondorf to have 0 depth at all. there’s a lot of room for different kinds of depth, it’s just that the trend of the last decade has been for “depth” to mean “condescending deconstruction”

Hey!

Thanks for taking the time to write this ask, I think it warrants an interesting conversation. To me, there's like, a lot of things about what you're saying, and tbh I do see where you're coming from --in part.

First thing first... No yeah unfortunately some people Are hostile to even WW Ganondorf. It's been a rising trend in the fandom since TotK was released --people being very against the concept of any additional complexity to the character, either not getting it or considering anything he says pure manipulation that doesn't even warrant a conversation, literally making fun of people who were intrigued by this and wanting more out of this particular thread. This position not only absolutely exists within the fandom --less so on tumblr, I'll agree there-- but it's not even hard to stumble upon as a pretty regular opinion that gets tossed around. I had some interesting asks thrown my way, let's say. The idea that Ganondorf is a remotely interesting character that deserves more thought than what he gets is very much Extremely not the norm, and the very fact that you, as a fan, likes him as a guy is perceived as weird and missing the point by a lot of people. Like a lot a lot of people.

So I'll just... I guess I haven't clarified my position in a while, so I will reclarify my position on our favorite evil dude: I do like him perfectly fine as a villain, I do not want him to be "redeemed" by the narrative, I think he works fantastically as an ongoing threat, I think they could make him even scarier and more offputting and that would be super fun and thrilling... and I also think he already is complex. Like, inherently. Everything Nintendo has been putting into him since his first appearance is complicated --even their attempts at flattening him back in TotK do not fully work because they can't scrub him of the extremely loaded ideas they injected into him from the get-go. Nobody forced Nintendo to do a Mega Orientalism when inventing him, nobody made them write the NPCs to have this super weird antagonistic relationship to the gerudos in OoT, nobody made them have all this lore of the one man born every hundred years, raised by twin witches --and then nobody made them press on that tension point in Wind Waker explicitely, and then, in a more subtle fashion, in TP too. Nobody forced their hand when it came to having the strange "round ear" situation, suggesting (confirmed even, in additional canon) gerudos are born unblessed. The fact of the matter is: everything to make the relationship between Hyrule and the gerudos complicated has been there since 1998. There's no need for a Switcharoo to prove that anyone is smarter than the audience: everything messy has always been baked within the worldbuilding itself. It's in the cartridges already!!

Perspective on it is what could change, though --because, except in Wind Waker, we never get even a hint of a sense that we should think, as an audience, that Hyrule's super weird relationship to the gerudos is maybe questionable. Worth thinking about at least. Which, given the optics, is wild to me that to bring this particular can of worms up is still very largely considered crazy talk within the fandom (that, or the Sheikah situation across the series, also insane in many ways). And yes, it would perhaps lead to themes that are a bit heavier than what Zelda has been overtly dealing with (though, again, Majora's Mask exists --and I do find a lot of unpacked ideas in the Wild Era, like the very unquestionned gerudo bridal pipeline, very uhhh unfortunate already if I'm being honest --even moreso because it is unquestioned). But Zelda, when well handled narratively, can do wonderful things with evocative subtext, open doors never fully crossed, a lynchian pressure on what should feel offputting. We don't even need a sad monologue about it. It doesn't even need to be handled explicitely. But I think the pressure point is just better when understood and incorporated in some form, instead of being denied so hard the world itself start to feel incomplete and unlived.

I do want to say... I get what you mean with the whole "oscar bait" thing. There has been, historically and in recent years, a tendency to be driven by an external, almost panicked sense of morality rather than by the internal drive of a story, its internal thematic logic. I also do think it can feel very corporate, very "Disney looking back at its own movies and scrubbing off everything Buzzfeed deemed problematic in 2014 while making everything glossy and lifeless and awful" and it's not that great!!! and tbh I can't say I would trust Nintendo to handle any appreciation for the fact that the story of an eternal golden kingdom cheering on beating the evil outsiders who want to corrupt everything good and pure and blonde about that perfect inherently good place, is like, extremely not neutral. It absolutely is a delicate thread to weave, and I agree that putting a definitive end to Hyrule is probably not the smartest IP move to do. But, Hyrule doesn't have to be condemned as Bad, it can be merely complicated. And ongoing, regardless. To keep on with the Disney parallel: The Lion King would feel weird if we started to peel off the internal politics of the hyenas, it's just not the right place for it, when everything about this story revolves around the Righteousness of the Divine Right to Rule. But if the Lion King was an ongoing series that had been looping on itself for a while... wouldn't it make sense to figure out how to achieve majesty by studying other angles too, eventually? Is it that strange to suggest the exercise is like, possible? That it can be handled with artistry and soul?

I feel like... Yes, to acknowledge Ganondorf's humanity --not even to coddle it, just to acknowledge it-- implies taking in everything that makes him who he is, and that might rattle some foundational ideas about why this ancestral fight is even happening in the first place. I also do not think it means that he must be Good now. He can still punch a child and cackle maniacally, he can still be unredeemable --he can still destroy himself and others out of the most unconstructive spite ever, and we can still see the purpose in defeating him while basking in the "yea....." left in his wake (Wind Waker did that!!! Wind Waker did that and then we had more Zelda games!! crazy how that happened). This is hardly undoable. It does take some narrative skill, and some commitment to taking a bit of a risk, but Ganondorf is genuinely unmanageable as a character if you insist on your refusal to acknowledge his foundations --and I think it's partially why TotK's story is such a mess. He sells a TON, but you can't have him breathe slightly too loud without risking the entire world falling apart. They did try in TotK, so very hard, and to me they still failed--as insane as he behaves, Hyrule still doesn't come out of this looking good or particularly justified, because the very central core of Ganondorf's character is to be subjugated, and then rebelling in a destructive and brutally selfish, uncompromising manner that ends up robbing him of humanity --and the discomfort of that premise will therefore always haunt the conversation. Nintendo dug themselves into that mess. I feel like a lot of the Ganondorf fans I know merely... point at that. At the mess. And I feel like the longer the games avoid this mess, the more coats of spinach green they slather ontop of his skin, and the more nonsensical characterization they pile up, and the more Ganondorf will become a parody of who he once was, and what made him compelling to begin with.

And to top it all off, as if he wasn't contentious and complicated enough to handle already, they leaned into the internet turning him into a sex symbol for some fucking reason??? Yeah I genuinely have no idea how Nintendo will manage this dude moving forward, because to me, he is, at best, an endless source of (very lucrative) headaches, and at worst a ticking time bomb. I'm not sure how long they can get away with that TotKification strategy, is what I mean.

(Also: I tried to not overdwell on all the incredibly complicated conversation re: race and orientalism, but it's borderline impossible to have this conversation without acknowledging that I have never seen a major pop culture villain receive more pushback against "woobification" than him, and I don't think it's a complete coincidence let's say :) )

[kinaesthetiqueer]

no wonder Nora never took her jacket off; RNJR would have never gotten anything done.

i like to think this happens in v4 because Ruby makes an offhand comment about Nora and Jaune not having guns as part of their kits. and Nora whips off her jacket and cries "guns? oh i've got guns! 😏" cue Jaune and Ren having a crisis. Ren is, to quote a friend, "experiencing emotions previously unknown, possibly shrimp ones".

redraw of this meme, because i wanted to draw best girl flexing and being admired, as she deserves.

renorarc et al. versions under the cut. :) image ID in alt text.

i don't have a twitter, so if you're inclined to share, please link back to this post rather than reposting it, thank you :')