corellianhounds

[corellianhounds]

[corellianhounds]

"It's just a silly comedy," I think to myself, "I'm not going to get brain worms about it," I insist, ignoring the fact that I am the getting-brain-worms-about-silly-comedies person

[corellianhounds]

accidentally wrote a banger line and now i have to build an entire novel around it. classic.

[corellianhounds]

does anyone want to play themes and motifs with me

[corellianhounds]

do you want me to put that fictional man in a situation for you miss

[corellianhounds]

where?

[corellianhounds]

Neither enemies to lovers nor slow burn but a secret third thing called Schrödinger's intimacy. We are in love and we are not in love do NOT open that lid I swear to God.

[corellianhounds]

Anybody have any historical Mexican clothing references? I’ve got a headcanon I want to draw/commission

[corellianhounds]

I love when there's characters that are pair bonded and you know that wherever one of them is the other is also gonna be there.

[corellianhounds]

Any time I write the Armorer she’s anywhere between the ages of 35 and 120. Sure she MIGHT be human. And she MIGHT be Mando’s elder. But she could very well be his age and just talks like that. Maybe she’s the equivalent of any other older woman you might consider a mom/mentor figure and she’s been there since he was a kid, or maybe she’s just always been good in leadership positions and has been smithing since she was thirteen and finally strong enough to haul tools around. Maybe she’s spry for eighty year old woman

[corellianhounds]

It’s also just so you don’t have to leave without the equivalent of half your clothes, feeling naked as a hermit crab without a shell

The idea of staying within the forge while the Armorer works is partly ritual in showing reverence to the process that is so integral to Mandalorian lives and culture, and it’s partly respect for the Armorer herself. Spending time with somebody while they do or make something for you keeps the interaction from feeling or becoming solely transactional; she’s not just some tradesman you commission so you can go on your merry way and come back later to collect the piece when she’s done. She’s the civil and religious leader with arguably the most important job in the covert, and it’s important to acknowledge and understand the process itself, the skill and time it took for her to get to where she is, and how her decision to do so is tied to her deliberation on your rank, station, and religious status within the tribe. It’s just as much an opportunity for instruction and connection while she works. She and Din don’t just discuss religious matters, they talk about his work and the allocation of finances to others of the tribe, his own history and how important it is for the foundlings to be taken care of.

Her shaping and customizing a Mandalorian’s armor for them is a practical example of servant leadership, forging something to protect their people, in addition to being a symbol of shaping the person themselves, guiding them through trials and hardship so they come out stronger on the other side. In times past, beskar may have been used to make weapons, but there is so little of it now and it’s been so dispersed that it’s better to use what she has to make something to protect her people rather than something that could be used against them should it fall into the wrong hands. It’s her job to craft armor that will keep you safe, and it’s your job to become the kind of warrior who can defend yourself and the people around you who need it.

[corellianhounds]

How much of an optometrist/optician do you think armorers have to be to make Mandalorian helmets and visors

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Forgot that the people I’m spam liking can see me doing that. Sorry bud

[corellianhounds]

Forgot that the people I’m spam liking can see me doing that. Sorry bud

[corellianhounds]

There were parts of TBoBF I wanted to like but the writers and directors just kept making story choices that made their characters look dumb or inept.

I wanted to like the fight sequence with Mando and Boba working around each other in the streets, but if they were able to hide on the rooftop of the bombed out Sanctuary until getting the drop on the Pykes et al., why on earth would they leave the rooftop

Why would you come out of hiding. Why would you give up your cover in exchange for being wide out in the open. Why would you give up the literal high ground to go stand in the middle of a three-way intersection within a more achievable firing distance for your enemies. Why wouldn’t you stay on the roof firing from afar, something the both of you as hunters would not just know how to do better than anybody else there, but would know TO do in this specific situation. Why are you negating the element of surprise and the entire purpose of being on the rooftop to begin with.

I don’t care how cool they could have looked. I don’t care that we get to see the jetpacks in action. I don’t care how it’s supposed to represent some “I’ve got your back” moment between these two. It’s an incredibly basic directorial and fight choreography flub to have your two characters purposefully put themselves into danger when you’ve literally just established that they had the strategic advantage. Even children know it’s harder for people to get to you when you’re up somewhere out of reach.

[corellianhounds]

Pros of writing out of order: Able to include foreshadowing and symbolism organically and on purpose

Cons of writing out of order: Writing something evocative and emotional that no one will see until the six other stories leading up to it are done

[corellianhounds]

The worst characters are the ones were you only get like three pieces of lore about them but the lore is so fascinating and hits your brain at just the right angle to have you behaving like a feral dog in front of your conspiracy theory cork board