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felikatze · 10 months

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ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

#feli speaks #in stars and time #isat #isat spoilers #lays down on floor. it's done. it's done #i actually narrowed down in scope to just focus on the combat by the way. and this is like. several thousand words

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shaniacsboogara · 6 months

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jojo siwa claiming she's revitalizing gay pop and releasing 'karma' on the same night as conan gray's 'found heaven' and chappell roan's 'good luck babe' is so poetically ironic. it's like the universe WANTS to draw a comparison between jojo and queer pop artists.

the thing that makes queer pop compelling as a genre is the unique storytelling and experiences of queer artists told through their music. that doesn't necessarily mean every song by a queer artist has to be about their queerness. they don't have to scream "hey i'm gay!" in every single song they write. but claiming to be "reinventing gay pop" should mean you're telling interesting stories about your queer experience, right???

'found heaven' by conan gray is about growing up as a queer kid with religious guilt and disapproving parents. he equates being in love in an authentic way to "finding heaven", and the piece as a whole resonates with a TON of queer people in different stages of their lives. some people can look back at their childhoods and how much they've grown since then, some can relate because they're currently going through what conan's written about, and some people can sympathize with the way some queer people are treated, even if they aren't necessarily queer themselves.

'good luck babe' is a song about queerness and compulsory heterosexuality. chappell sings about a woman she was in a relationship with who decided to settle down in a conventional marriage despite being queer. the song reflects the denial a lot of queer people go through (specifically regarding the lesbian experience) and the unfortunate way a lot of them end up repressing who they are to conform to societal standards. it's fun, it's campy, but its message is still poignant.

as for karma… there's nothing inherently queer about that song. the music video for the original version, ‘karma’s a bitch’ by brit smith, featured a heterosexual storyline. jojo buying the rights to a song she didn't write isn't inherently a bad thing, a lot of mainstream artists do that all the time. however, if you're claiming to be a pioneer of the “gay pop” genre and your music doesn't reflect any queer themes or experiences, is it really “gay pop”? again, queer artists don't have to write exclusively about their queerness, but if you try to present yourself as a voice for the queer community without telling any of their stories, you're not going to be lauded as some revolutionary figure. if any of the songs on jojo’s album are actually about her experience as a lesbian or contain any queer themes, then i think she'd qualify as a “gay pop” artist. but so far, she's given us a faux edgy, generic pop song and tried to market it as some insane never-been-done-before feat. and honestly, if her entire album is like this and she continues to market herself this way, it's a slap in the face to all the genuine artists and storytellers in the queer community.

but let's stop talking about jojo siwa and start talking about the incredible queer artists who are truly breathing life into the "gay pop" genre: chappell roan, renee rapp, ben platt, conan gray, girl in red, kevin atwater, baby queen, mitski, clairo, dodie, and SO MANY MORE (feel free to add on some of your favourites because there are so many wonderful artists out there <3)

also: if you have a different perspective on this situation i would absolutely love to hear what you think and if you agree / disagree with this! i love discussing topics like this so feel free to reblog with your own take

#jojo siwa #karma #chappell roan #conan gray #queer pop #also the fact that this rebrand is a coverup for jojo's awful behavior #like be fucking fr #don't use the queer community as a sheild

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mindmelter · 7 months

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The Body Wearing Convention - Las Vegas

The BWA (Body Wearing Alliance) was formed 20 years ago when the internet was just starting to get popular. Those born with the rare ability of reducing people into wearable skins didn't knew there was more like them out there, but with the help of the internet they started to find others with the same ability, and soon it was created the BWC (Body Wearing Convention)

The Body Wearing Convention is a clandestine event that happens a few times every year, hidden from the prying eyes of the public, It is a secret event where they can gather, share stories, and find solace in the knowledge that they aren't alone in their power.

The BWC happens in a different country every time, for safety reasons, and the main two rules to participate in the convention is: To be a Skinwalker (That's how they call themselves) and to wear the body of a local from that place, that means you can't bring with yourself skins from home.

Currently the secret Alliance is made up of 130 men around the world. But among these 130 members, there are 10 men who are very close friends with each other, they all share one thing in common: They are all gay.

Surprisingly they are the only gay guys of the entire Alliance, while all the others sought power and money, these 10 friends only care about getting hard in a new sexy body, It was like a sport for them. That's why they created an online group chat, where they can talk and share pictures of their current bodies with each other.

The location of the BWC this time is: USA - Las Vegas.

The 10 friends all arrived individually at the city in an early Friday, the convention would occur during the weekend, so they had to find a new skin quickly, and so they went straight on a hunt for a random local body.

Think of the BWC as the Met Gala, but for people who can turn you into a wearable hollow fleshsuit in a blink. There was this unspoken competition among them, to see who was wearing the hottest or richest skin, and this group of friends clearly didn't care about the last one...

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Carl is a 46 years old married gay man, he is part of the BWA for 17 years, and there is nothing Carl love more than wearing the bodies of fit straight guys. His husband knows he's a skinwalker and is totally fine with it. But because his husband is not a skinwalker, he is not allowed to go to the conventions, so Carl always travels alone.

(Friday, March 1st. 8:19 AM) Carl Sent A Photo

Carl: I just turned this hot Latino stud in the hotel parking lot. He was walking towards his car while talking on the phone with his girlfriend. That's when I slowly walked behind him and turned him. What do you guys think? Do I wear him well?

Harold: You're looking so hot. You always pick the most hottest guys.

Elijah: Wow, you already found a body? That was fast.

Joel: He's not that impressive, I would give him a 6/10 lol

Elijah: Stop being a jerk Joel. This guy is clearly a 9/10

Carl: Don't mind him Elijah, he's just jealous of my pick.

Joel: He's not really my type, today I'm looking for a sexy tough looking guy to wear.

Peter: Hot choice of skin Carl! Show us his dick please!

Carl: You will have to wait until the Convention to see it. But i'm telling you, he's really big and thick, I know you're gonna love sucking it.

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David is 34 years old and he is part of the BWA for 13 years.

He first found out about his ability when his homophobic stepbrother was trying to beat him up, David closed his eyes and tried to protect his head, but when he opened his eyes, he saw his hot stepbrother lying on the floor completely deflated. David had the most fun years living the life of his douchebag of a stepbrother, until one day, his stepbrother just "disappeared"

(Friday, March 1st. 9:46 AM) David Sent A Photo:

David: I made two new bodysuits. I saw the handsome blond one at the hotel's pool, he was trying to seduce some girls by showing off his hot body, he just didn't knew he was actually seducing a skinwalker. To get him, I first had to convert this cute room service attendant, after I put him on, I got access to his room and walked inside. I think I'm going to use the attendant tonight for some fun.

Elijah: Oh, the good old room service method. It works every time.

David: It was you who taught me this method back in 2011 when I was still a new member of the BWA.

Damian: It brings back good memories from that one time where we all stayed at the same hotel in the 2011 Convention. Good times.

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Peter Is a 40 years old gay bottom who love to turn big hunky men into Bodysuits and act like a slut in their bodies. He is part of the Body Wearing Alliance for 9 years.

(Friday, March 1st. 11:28 AM) Peter Sent A Photo:

Peter: Do I look cute? This is Ramón, I turned him at an alley while he was jogging, he's a bodybuilder. I'm gonna make such a good use of his muscles. I'm sure you guys are going to love the muscles in his ass the most.

Joel: I love how you always pick the most biggest guys.

Daniel: I feel bad for this poor bastard, of all the Skinwalkers, he was picked by the most perverted one.

Peter: lol

Carl: He's huge. I'm going to enjoy burying my new thick latino dick in your bodybuilder's ass.

Harold: I really like his pecs. I want to suck on them when we meet tomorrow.

Peter: It's always the pecs for you isn't, Harold? lol

Harold: You're not lying. Actually I just saw this hot guy at the mall and he seems to have very big pecs. I'm going to follow him.

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Harold is a 28 years old scrawny gay man, he has no muscle definition, but he love pecs and it was what he first looked for in a body: Their huge pecs. If the guy didn't had two big meaty pecs, he wound't want them.

He went to the local LA mall to hunt for a body, he knew that the mall was always the perfect place for hunting skins. And he was proven just right when he saw this big and tall hunk walk inside a clothing store. Harold smirked as he entered the store and followed the man.

(Friday, March 1st. 1:05 PM) Harold Sent A Photo:

Harold: Who want some milk boys? Daddy got all the milkers now.

Peter: Oh my god, look at the size of these tits. I will let you suck on Ramón's tits if you let me suck yours.

Harold: This sounds like a good deal.

Carl: Very nice choice of skin! Good job, Harold.

Peter: Can you send a video of you playing with those hairy tits and pinching his nipples? Please?

(1:15 PM, Harold Sent A 20 Seconds Video To The Group Chat)

In the vídeo he was in the middle of the store, squeezing his new pair of meaty hairy pecs, he lifted one of them and let go, watching them bounce, then he pinched his left nipple and let out a deep loud moan. Without feeling any shame for being in a public space. It wasn't technically him who was being humiliated in public, so he didn't cared.

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Damian and Rashad are a black gay couple (47, 49) they have been together for 11 years and they both had met each other during a Body Wearing Convention back in 2013. It was very known to everyone that they only turned white men into Bodysuits, it was their favorite type of skins. So there was no diversity in their Bodysuit closet, only white men.

(Friday, March 1st. 3:07 PM) Damian Sent A Photo:

Damian: You guys know how Rashad and I love to hunt white boys, so what better place to find some white skins than at the LA beach? We saw this group of young frat boys surfing and we converted these two 19 years olds, they were just the most handsome ones in their group. Turns out they are twin brothers.

David: This is such a hot pair, and the fact they are brothers makes it even more hot!

Carl: I want to fuck the long haired one with my thick latino dick while I pull his hair.

Damian: I like this Idea. His long hair would be great to use as a handle for a hard fuck. I might even try It later tonight.

David: Send us a video if you do.

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Joel is the youngest one of the group, at only 19 he already has a count of 86 Bodysuits, and he's part of the Body Wearing Alliance for only 1 year. That's why, the BWA leader tasked Elijah, a veteran in the art of wearing bodies, to watch for Joel and not let the young man expose their secret society.

(Friday, March 1st. 5:14 PM) Joel Sent A Photo:

Joel: My new bodysuit is still deflating. I can't wait to finally wear him and show him to you guys. He's so hot.

Carl: You gave my bodysuit a 7/10, so he better be a 10/10.

Isaac: Wow he's packing.

Harold: When he deflate, please send us a pic of you in him. I want to see if his front looks as good as his back side.

(Friday, March 1st. 5:40 PM) Joel Sent A Photo:

Joel: I'm inside him now. I saw this sexy daddy at the hotel's bar. I waited for him to go to his room and then I followed him, as soon as he opened the door I converted him, right there at the door's entrance, I mean, of course he took a bit longer to deflate, so I had to drag him inside. I actually wanted to wear a scary looking soldier that I saw at the bar, but Elijah didn't let me. Still, I'm very glad with my pick.

Harold: Holly fuck!!!

Peter: He's a very sexy bodysuit. Wish I was there to give him a very special room service.

Carl: Where is Elijah by the way? Should he not be with you?

Joel: Elijah Is outside, I don't know where he went, but he said he was going to be back soon.

Carl: Did he picked a bodysuit already?

Joel: Yes he did, a young and hot fuckboy. Let me send a pic of him.

Joel Sent A Photo:

Joel: This is the body Elijah picked to wear at the convention tomorrow. I think he got this one at the hotel's bathroom maybe? I'm not sure. I hope he don't mind that I'm wearing his brand new skin.

Elijah: Boy, you're in big trouble!

Joel: Shit, I'm sorry, I thought you wouldn't mind. I'm gonna take him off.

Elijah: Don't you dare taking him off, I'm not going to wear him anymore, I found a better body to wear tomorrow. wait for me, I'm getting up there right now.

(Friday, March 1st. 6:22 PM) Elijah Sent A Photo:

Elijah: You don't want to disobey me in my new body, boy, so you better be on your knees when I get inside, I'm horny and this guy have big balls full of cum.

Joel: Yes sir!

Peter: Oh yes sir indeed!

Carl: lol you're fucked Joel.

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Isaac is a 24 years old gay man, and like everyone else in this group, he was addicted to wearing hunky men. He is more reserved and shy, and don't talk much in the group chat. However, he enjoys jerking off while viewing the photos his friends would send to the group chat.

He might be the most shy and reserved in the group, but once he's wearing a handsome hunk, he becomes a whole new different person, a more dominant and cocky one.

(Friday, March 1st. 8:37 PM) Isaac Sent A Photo:

Isaac: Seeing you guys wearing such hot bodies is getting me so freaking hard. I can't wait for tomorrow. I got this one at the gym's lockerroom. Who wants to take care of my boner?

Peter: I do! I want to get on my knees in Ramón's body and let you use his slutty mouth.

Harold: You're looking so damn hot, Isaac, good pick.

Carl: Was you working out? Your skin looks very sweaty.

Isaac: I was. I wanted to test out my new muscles.

Carl: Great. Can't wait for the convention tomorrow, where we can finally see each other's bodies in person and have the orgy of the year.

#bodysuit

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comicaurora · 8 months

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Why do you never want to talk about aurora in videos and streams, even if requested? Do you just feel disingenuous, or is it something else?

Because self-promotion makes me uncomfortable, I don't want to obnoxiously self-aggrandize, and part of me still feels like the worst crime I can commit is inflicting myself and my work on other people. I've been smacking that part down over the years, but it's not wholly gone just yet.

Funny story about that. I was just a panelist at the sci fi fandom convention Capricon this weekend, and I was on two panels about comics with Gene Ha, a comic writer and illustrator who's been in the superhero comic business since 1993. Most recently he worked on Wonder Woman Historia, a "what the amazons were up to pre-Wonder-Woman" comic volume. He had a sketchpad with him and spent his time on the panels when he wasn't talking drawing portraits of random audience members and then slipping away from the table to hand them to them. Absolutely lovely man.

When we were making small talk before the panel, he leaned over and said, as if it were the most natural thing in the world, "By the way, I checked out your webcomic this morning, and it's really good!"

He then proceeded to relentlessly compliment my grasp of paneling, flow, and readability, which was the most unexpected and unbelievably validating thing I'd ever experienced.

Then, when we were recommending comics at the end of the first panel, he drew up a little sign and propped it next to his nameplate - "comicaurora . com by Red!" - and brought it to the second panel we were on to reiterate the point. And the whole time I was comedically cringing into a ball, I was like "maybe… I don't need to be cringing into a ball about this……?"

It was very, very kind, and though I have difficulty taking compliments because it makes the imposter syndrome goblin that lives in my brain cackle madly on its throne of skull, I 100% believed his sincerity. A legitimate professional and pillar of the industry - a neutral party who is not already a fan of me - says I know what I'm doing.

Wild!

#asks #behind the curtain

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paper-mario-wiki · 10 months

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Shangri-La Frontier mid-season review

This is by far the best fake video game I've ever seen written in fiction.

Most MMO-centric isekai stories have trouble with providing accurate and realistic depictions of the complexities and minutia that give MMOs the allure they have. I've seen so much handwavey bullshit tacked onto fake-games that introduce unrealistically overlooked mechanics for reasons like giving the protag immense power just because they're the protag and the story is about them. A good example of this is another MMO Isekai airing this season, "A Playthrough of a Certain Dude's VRMMO Life", wherein the main character becomes extremely rich, powerful, and famous by episode 2 because he stumbled into a stealth archer playstyle, a build which apparently no human in that universe had ever conceived of before, and then making a fortune by selling basic potions to everyone after NPCs stopped selling them (another thing he was uniquely able to do because not a single other player had the forethought to spec into alchemy). These lesser, dime-a-dozen isekai add up to be boring fantasy strories with gaming elements clumsily put in so that the author can demonstrate how powerful the world's inhabitants are by showing their stat allocation screen instead of, say, explaining anything about what they do that's so uniquely powerful and how they figured it out. Ya know, stuff you'd hope to hear about from any competent story.

Shangri-La Frontier is a breath of fresh air for anyone who, like me, is sick of authors ignoring the things that actually make video games compelling in service of creating a stock-standard narratives in fantasy worlds because it allows them to get away with bullshit. I've always found it very convenient that many isekai narratives indulge in things like chattel slavery, because it's societally normal enough for the protag to purchase a beautiful, vulnerable girl to add to his harem (dont worry, she is always inexplicably in love with him no matter what because he's SUCH a kind master). And it never really seems to go anywhere. Because the Video Game Isekai, while an interesting premise in theory, is more often than not used exclusively as a means to simplify the structure of a world's power scaling to abide by an arbitrary set of omnipresent universal rules (e.g. what people who have never cared to look into game development think of video games). This anime, by comparison, is VERY clearly authored by someone who plays a LOT of games.

Every piece of logic used to drive the plot forward, so far, is congruent to a real-world example of video game conventions, and I'm not just talking about levelling up and selling monster parts. Story elements that I've rarely (if ever) seen explored in other isekai are ever-present and genuinely clever and amusingly introduced. My favorite example of this so far has been the way the protagonist has been able to go head to head with so many overlevelled foes in the first 9 episodes. The story of course makes note of how good of a gamer Sanraku (our hero) is, but much like in real life games, being super duper good at dodging attacks doesn't really make up for a 70 level gap in items and learned skills. For that reason, he gets his ass whooped more often than he actually outsmarts others (so far he hasn't beaten a single player in pvp). So how is he getting out of these situations without dying so frequently? Simple: he got access to a later area too early relative to his level (sequence break) and got access to a high level follower NPC that's been carrying him. This is something he acknowledges directly several times, specifically using words like "Emul has been hard-carrying me for a while." This, to me, is extraordinarily meaningful. That's something you can exploit in Skyrim, man. That's REALISTIC CHEESE STRATS. The excitement and wonder I find in this show doesn't come from watching the protag do something unexpected, but by watching him do something that I would think to do.

This knowledge the author has demonstrated regarding modern gaming culture extends further into the actual realistic nature of game design and community. The story exists in a reality where full-dive VRMMOs are the be-all-end-all of gaming, and given the prohibitively expensive nature of developing and designing expansive, immersive worlds, most games are pretty shit. It's been hinted at so far that this is due to a monopolistic megacorp which is one of the only entities rich and powerful enough to make a good game (the game in question being the one that shares the title of the anime), but so far the strife of the characters have been pretty centralized to the happenings of the game world and its politics. By the way, lets talk about the game world's player base politics, which I'm also quite pleased with. It exists in the form of guilds and clans who struggle for power not by participating in seemingly random pvp with other powerful players to see who is the most epic and badass warrior (again, like many contemporary isekai typically opt for), but by gaining actual realistic support from a fictional playerbase with realistic desires and playstyles. Some guilds are interested in lore, some gather for alliance and boss raids, some for things like animal husbandry, and (naturally) at least one is dedicated to trolling and PKing. Each of these factions, through the very little that we've seen of them so far, communicate on forums and only know as much as is reasonable for them to know. The only reason they give a shit about the protagonist at all is because he gained access to a high-level unique scenario quest that they want information on how to access, and the only reason word of that got out in the first place was because someone posted a screenshot of him with a unique NPC onto a forum, asking about it as "where can i find this pet summon, its super cute!" That's real. That's video games, baby.

I like this show a lot so far. I like that it cares about video games, but I also like its writing. I like the main character and how hes less of an ultra badass super cool guy, and more of an earnest challenge-run lets player. Like, a lot of his dialogue straight up sounds strikingly similar to Japanese youtubers. And he's naturally always quick to point out inconsistencies in the game world's logic. I ALSO really like his community of pals from a janky old fighting game, and I ADORE the girl from his school who has a crush on him and also just so happens to be an exceptionally high level player from a top clan, and how she had to spend 9 episodes working up the courage to send him a friend request. I love that so, so much, dude.

I highly recommend this show if you're into a single thing I've mentioned. The animation is great. The world is beautiful. The character design is immaculate. And I'm looking forward to watching it continue.

#text #shangri la frontier

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holylulusworld · 9 months

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Romanian Kiss

Summary: Your fiancè leaves you for someone else. You try to get him back and meet a grumpy taxi driver.

Pairing: Taxi Driver!Bucky Barnes x fem!Reader

Warnings: cheating (not Bucky), angst, heartbreak, meet cute, fluff, bad Romanian

A/N: This story was inspired by the movie "French Kiss" but takes place in Romania (Bucharest).

A/N2: I'm deep down the Bucky rabbit hole again so bear with me...

Words: 1,4k

He left you. He went to Romania for an important convention.

Suddenly he didn’t call you back.

But he left a message, telling you he found the love of his life.

Love of his life? Not a week ago, he promised you forever, and suddenly, another woman took your place. One he met two days ago.

You had no choice but to catch the next plane and hit Romania to find John and win him over again. He can’t just throw three and a half years of a relationship out of the window because he met some girl half his age.

So, this is how you ended up in the cab of the grumpiest guy you ever met. He pretended to not understand your language and grumbled under his breath the whole way to the next hotel.

“Sir,” you sighed as he didn’t react. “Can you tell me where the convention is? My fiancé is there,” you tried again. “I know you understand me. Please, I need to find him. He left and met that girl. I—he can’t just throw our life together away.”

“Miss,” he suddenly said, “stop talking so much. Maybe that’s why he left you. I’ll drive you to the hotel, but I’m not a city guide.”

“Whoa, I thought European taxi drivers were nicer than the ones in New York City,” you huffed and looked out of the window.

“Maybe you should head back then and leave Romania alone,” he snapped at you and slammed his hands onto the steering wheel.

You bit the inside of your cheek. His words haunted you like an unwanted truth. Hot tears wanted to spring free. John leaving you. The stranger taunting you. Your hopeless situation. Torn between wanting John back and running away.

All damns broke when he grunted at you and accused you of being an annoying woman. You sniffled and the tears finally fell.

You couldn’t stop. He had to stop the car and talk to you. He opened the door and sat next to you in the backseat. “If you stop crying, I’ll drive you anywhere you want to.”

He told you his name, an odd one. Bucky. At first, you believed he lied and tried to make fun of you; but it was his real name. He talked and talked to make you calm down. While you tried to stop the tears from falling, he murmured words you didn’t understand.

He called you păpuşă and prinţesă. His words calmed you, and you allowed Bucky to hold your hand while you told this stranger about your past, and the love you just lost.

You believed him when he told you that he’d help you find John. He had no reason to help you, but he did.

For the next few days, Bucky drove you around town. He showed Bucharest, the most important places, and helped you stalk your fiancé and his new girl.

He even let you cry in his chest when you watched John meet the girl’s parents after knowing her for a few days. And the worst was, she wore a diamond ring, making your chest tighten.

“The convention is held in this building,” he said and pointed at the luxurious building. “Do you want to go inside and find out if your fiancé is in there?”

“I don’t know,” you said and meant it. If you met your fiancé right at that moment, you didn’t know what to say. “What if she’s prettier than me, or smarter…or younger.”

“Doll,” he placed his hand on your shoulder, “if you don’t talk to him, you’ll never know. If you want me to, I’ll drive you back to your hotel and you can fly back home and forget about him.”

“No, you’re right. I should talk to him but,” you sighed and looked down at your body. “Jeans and t-shirts won’t make him see me in a different light, don’t you think?”

“If you want me to,” he cupped your face and looked you deep in the eyes, “I’ll turn you into a maneater stealing his heart and mind.”

“You look stunning,” he said, watching you walk out of the bathroom of your suite. “I mean…wow.” Bucky eyed you up and down.

“I,” you shook your head. The dress felt like a second skin, but you felt like it was suffocating you. The heels were too high and the make-up too much for your liking.

In other words – this wasn’t you. But if wearing a short and figure-hugging dress, too much make-up, and heels makes John fall for you again, so be it.

“Go ahead, doll,” Bucky said and gently nudged you toward the entrance of the fancy restaurant. All you had to do was walk inside, pass John’s table by, and sit at the table Bucky reserved for you. He’d take care of the new girl by your fiancé’s side and distract her long enough for John to fall for you again. “He will love you.”

You took a deep breath and got the show on the road. While walking inside the restaurant, you held your head high and didn’t look at anyone. Including John.

For a second, you heard him gasp when you walked past his table, but you resisted the urge to turn your head to look his way.

You used the few words you learned in Romanian from Bucky to order water and food. The whole time you didn’t look at John’s table, always busy talking to the waiter, checking your phone, or reading the tourist guide Bucky bought for you.

“Y/N?” You only looked up when John was standing right in front of your table. He looked surprised and a little scared. “What are you doing here?”

“John?” You acted surprised too. “What are you doing here?”

“I told you about the convention, didn’t I?” He cocked his head to look you up and down. His eyes trained on your chest he murmured your name when you acted like you forgot about him, the convention, and the fact that he left you for some other girl.

“Oh, that was in Romania. I can’t remember, sorry. With all the things going on in my life, the cancellation of our wedding and buying a new apartment I forgot about you.”

He sat down and puffed his chest. John tried, just like he did before he asked you out on a date for the first time, to impress you. You smiled and let his compliments and charm wash over you.

John and you dined together, and it almost felt like back then. And when he asked you to join him in his hotel room, you didn’t hesitate to follow him.

A few days ago, you would’ve happily given in to his advances. A few hours ago, you dreamed of being with him again.

But at that moment, all you could think about was the guy you ran into while chasing your unfaithful fiancé.

His lips didn’t feel perfect against yours any longer, and the weight on top of yours didn’t make you feel how you should.

“No, stop,“ you pushed him off you. “This isn’t right.”

“Baby, it’s right. I was a fool,” you whimpered at his words.

“I came here to hunt you down and win you over again but..” You got off the bed and grabbed your dress. “Not a few hours ago you wanted to marry that woman. Tonight, you believe I’m some sexy wonder woman but in the morning, I’m still the same woman I used to be.”

He tried to stop you, but you shook your head. “Please give me another chance. I was blinded by lust and—” He trailed off. “Maybe I was scared of the future and getting married.”

“You weren’t scared of marrying that woman you barely knew,” you cocked your head and gave him a sad smile. “Just tell me the truth. You’re not made for normalcy and me.” You bitterly admitted. “I’m not exciting and wild. Only the reliable and boring woman you easily forgot about the moment you met someone else.”

“You did what?” Bucky threw his hands up as you ran to him after you turned John down. “Why? I mean…all the effort and you let him off the hook?”

“It didn’t feel right,” you murmured and dropped your gaze.

“Why?”

“Why what?” You asked.

“Why did you turn him down,” he stepped closer to gently cup your face. “Tell me why, prinţesă.”

“I can’t…”

“Why?” He softly asked. “Doll?”

“I’m scared.”

“Tell me,” Bucky leaned closer to whisper against your lips. “Please.”

“Te iubesc,“ you whispered.

“I love you too,” he pressed his lips to yours and wrapped his arms around you. Right at that moment, you forgot about John and your past together. All that counted was Bucky holding you in his arms.

Tags in reblog.

#bucky barnes #bucky x reader #bucky barnes x reader #bucky barnes x you #female reader #fluff #bucky barnes x female reader #Romanian Kiss #beefy bucky

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grison-in-space · 1 year

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Currently rereading Eric Flint's 1632 and reflecting on just how influential Flint was to me and my approach to both praxis and politics as a teenager. I found Flint when I was about thirteen or fourteen, around the time I found Pratchett I think, and he's left an equally wide thumbprint on my soul. Isn't that the most wonderful thing about stories, that people you've never met can help shape our adult selves? Mother of Demons I often recommend for its SFF worldbuilding--Flint built a species with at least four genders, only some of which are reproductive, and associated "normal" sexual orientations, and then proceeded to write in a textually intersex character and queer the hell out of it.

1632, though, is the one where a little West Virginia town in 2000 gets picked up and dropped in the middle of Thuringia, Germany in the eponymous year--right in the middle of the Thirty Years War. The local United Mine Workers of America chapter plays a major role, particularly its head.

As I write this I'm listening to the scene where the little town of Grantville, having admitted after a few days that they are probably not ever going home, is crowded into the high school gymnasium listening to the mayor lay that reality out and suggesting an interim council to help the town set out a sort of constitutional convention so they can work out what on earth they're going to do moving forward--especially since there's a bunch of displaced refugees collecting in the forests nearby. Sensible of them, really; the Americans murdered the shit out of the local soldiers that displaced them, on account of how the shaken mine workers that went out to figure out WTF happened not being super down with suddenly running into a bunch of fuckheads raping the locals and torturing people to find out where their valuables might be. After that, said Americans proceeded to retreat into the town boundaries and gibber quietly to themselves. I would go lurk in their woods, too.

Anyway, the mayor sets up this proposal, everyone agrees, and a CEO who was visiting for his son's wedding at the time steps forward and says: look. I know how to lead, and I'm probably the most qualified person here. I lead a major industry corporation effectively and I did that after my time as a Navy officer. I put myself forward because I'm qualified. Now, we're going to need to circle the wagons to get through the winter, tighten our belts, but we can get through this. We can't support all these refugees, though; we'll have to seal the border so they can't bring disease--they're a drain on our resources we can't afford--

and the UMWA guy, he gets really mad listening to this. There's this Sephardic refugee woman he's real taken with who got swept up in the town first thing, and she's sitting in and listening; he's thinking about throwing her out, thinking about how much she knows about the place they're found in, and he's furious. But he gets a good grip on his anger and he marches up and he says, look. This dude has been here two days and he's already talking about downsizing?! You're going to listen to this CEO talking about cuts, cuts, cuts? Nah. Trying to circle the wagons is probably impossible, it's stupid, and if you think my men and I are going to enforce that, you can fuck off. That proposal is inside out and bass ackwards. We've got about a six mile diameter of Grantville here; how much food do YOU think we're going to grow? How about the soldiers wandering around, do you think we're going to be able to fight armies off on our lonesome? Look at the few refugees we already have in the room, they'll tell you how those armies will treat you! We could do it for a while, the amount of gun nuts here, but so what? We don't have enough people to shoot them! Not if we're going to do anything else to keep us going! We have about six months of stockpiled coal to keep going, and without another source or getting the coal mines working, we're screwed. We have technical strength but we don't have the supplies or resources we would need to maintain it. Those refugees? They're resources. We need people to do the work we will need to keep ourselves. The hell with downsizing; let's grow outwards! Bring people in, give them safety, see what they can bring to the table once they've had a moment! He invokes: send us your tired, your poor!, and the CEO yells in frustration: this isn't America! so he yells back "it will be!"

And of course everyone cheers. I love Flint for many reasons but he is unapologetic about affection for the America of ideals--ideals, he freely admits, that are often honored in the breach rather than the observance, ideals that are messy and flawed, but nevertheless ideals that can work to inspire us to become the best version of ourselves. For Flint, history is as valuable as a source of stories to inspire ourselves as it is a repository of knowledge, and on this I tend to agree with him. We must learn from our moments of shame but equally we must learn from moments that show us how to be our best selves.

It's been twenty three years and the text is now an interesting historical document in its own right, hitting points and rhythms in beats that are sometimes out of place today. It's not perfect. But the novel contains a commitment to joy and to emphasizing the leaps of faith and understanding that regular, everyday people make every day to try and support each other that I routinely try to match in my writing.

Anyway, one of the strengths of the novel, I think, is its gender politics: it's a very ensemble kind of novel, lots of characters, and it's preoccupied with positive masculinity in a lot of ways. There's a lot of these hyper masculine characters--Mike Stearns perhaps more than anyone else--and--and...

... And Flint's characterization of Stearns, as he sketches out who the man is--his pivotal American leader, ex boxer, working class organizer, big man.... well, it lands equally on "he is delighted and astonished to find a local woman who quickly assesses how the cushion of air in tires works," and "he considers who to set up a Jewish refugee in the middle of Germany up with and he thinks to ask the Jewish family he grew up with to host her and her ill father because he thinks she'll be most comfortable there", and "he views people as potential assets rather than potential drains." A younger man asks him for advice on whether to pursue a professional sports career because of the boxing and he says no, you're in the worst place of not being quite good enough and you'll blow out your knees without accomplishing safety. He frames that interaction such that he allows his own experiences to make him vulnerable and invite the younger man to understand when a struggle have worth it.

It's actually a really deft portrayal of intense masculinity that also makes a virtue of a bunch of traits more usually associated with women: empathy, relational sensitivity, the ability to listen. As a blueprint for what a positive masculinity can look like, vs the toxic kind, it's very well done. I think sometimes when we look at gender roles in terms of virtues, and when masculinity is defined in terms of opposition to femininity, people get lost by arguing that virtues assigned to one gender are somehow antithetical to another gender. In fact that's never been the case: virtues are wholly neutral and can appear in any gender. What the gender does is inflect the ways we expect that virtue to appear in terms of individuals' actions within their society.

Gender isn't purely an individual trait, basically; it's a product of our collective associations. Two characters with different genders can display the same virtues and strengths, but we imagine them expressed in different ways according to our cultural expectations around gender. And I just think that's neat.

#Eric Flint #1632

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cobaltperun · 3 months

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Genius (12 - Finale) - I'm Alive

Cairo Sweet x female (G!P) Reader

Summary: It was such a cliché, a reunion she didn’t expect to ever happen, let alone six years after she last saw you. It was supposed to mean nothing, a bit of nostalgia, maybe a brief catching up while waiting for class, it was supposed to be a small wave of nostalgia, not a tsunami that disrupted her entire life. You were her opposite, and as hard as she tried she couldn’t resist your pull.

Story masterlist / First part / Previous Part

Word count: 1.7k

-When you call on me, when I hear you breathe, I get wings to fly, I feel that I'm alive-

I am a shadow. Born and raised in the light, though dark remains my natural habitat. I am a shadow that was given freedom, released from the one who cast me. My greatest achievement? Using that newfound freedom and giving myself a shape beyond a dark figure without a face, without a voice, or identity.

I thought of my home as mundane, mediocre, I wished to leave it behind, searching for something more meaningful. I believed I had accomplished nothing, instead wasting my youth on normal, on boring. Valedictorian, though I am, I found that to be boring, average, not worthy of being called a great, let alone the greatest achievement of my life.

I sought affirmation, I sought recognition of my talents, a love so strong it would transcend conventions, and I found none of that. Instead, I found betrayal. I sought excitement, and instead found stability, support, and someone who built me up, improving me and letting me improve her and us in return.

And we traveled the world. Leaving our lives behind and with little more than a backpack of bare necessities, we traveled. At first, inspired by 'Around the World in Eighty Days' we visited our first destinations, traveling as tourists, and then we changed our minds.

We stopped traveling from place to place, we stayed, we lived there, experiencing the culture, the differences from what we were used to, and the journey around the world became a journey through 10 countries, one month for each one.

That is my greatest achievement, opening my mind to the world, to different values and cultures, learning and embracing the parts that resonated with me the most, and understanding the others. And I wrote about it, pages upon pages flowed through me and onto the screen or paper, and from that a tale was born. 10 stories about life, about will, about what it means to be human and free, each through the eyes of multiple people I met, combined into one.

My greatest achievement is finding my purpose.

You finished reading Cairo’s Yale essay on her greatest achievement and looked up, smiling widely at your girlfriend as she impatiently awaited your response.

“So?” she asked, and you hummed, leaning back on the sofa in the simple hotel room, you glanced outside, seeing the beautiful beach as the Sun began rising. You two deserved a bit of a vacation after the past year, because, well, it wasn’t that you just traveled and lived, you worked in those countries, so, you were taking a bit of a break now that Cairo would apply for Yale. “Y/N?” she warned you playfully as she moved from the sofa next to you to straddling your lap.

You grinned, your hands dropping to her thighs as she leaned in and kissed you. “You want to make out or do you want me to tell you about your essay?” you laughed when she pulled back for a bit.

“Can’t see why we can’t multitask,” she whispered in your ear and bit your earlobe gently.

“I can try,” you kissed her neck several times, making sure not to leave marks, since she needed to go and have a talk about her book with the publisher that was interested in it. “I think you are brilliant,” you told her, and groaned as Cairo, of course, didn’t have to worry about marks on your neck and her nails left tiny red lines along it while she kissed just beneath your ear. “Fuck, Cairo! You know I’m an awful critic when,” you pulled her collar aside and latched onto the skin of her shoulder since that was fair game. “we’re making out!” you complained earning a laugh from the girl on your lap.

“You are an awful, lovestruck, critic in general,” she teased, a low moan slipped past her lips as she pushed her body against you and hugged you tightly.

“Mhm,” you agreed, you absolutely agreed, but she was just as bad. “Remember when I recorded playing an out of tune guitar? You know, when it sounded like a sin against music?” you reminded her and smirked when she blushed. “You said, and I quote ‘It’s perfect’ just because I was making you feel really good,” you dragged your bottom lip up her neck before kissing her. Her mouth opened immediately, and you felt her tongue inside your mouth. “In all seriousness, I think you won. You did it, you overcame it all,” you said, no longer making out with her, instead you were just leaning your forehead down on her shoulder while she hugged you. “You were stronger than everything that happened in that school,” you ran your fingers through her hair, soothing her when she tightened her hold on you. “You’ll get in, I have no doubt in my mind, that’s how good your essay is,” you assured her, completely confident in that being the outcome.

~X~ Five years later ~X~

A smell of wild roses engulfed her senses as she brushed her hair, humming a tune of your band’s new song.

“You are, against all odds, somehow still tone deaf,” came Winnie’s biting remark from the bathroom and Cairo felt her eye twitching at her best friend’s constant teasing. “How can your Biker Girl even handle the sounds you make?” Winnie came out of the bathroom and leaned on the wall.

Cairo had a bit of a lecherous grin on her face and Winnie immediately put her hand up.

“Nope, no way, none of that, I do not need that image tonight,” she stopped Cairo before she could even say that you did, in fact handle the aforementioned sounds in a certain way. But Cairo figured she could show some mercy to Winnie, seeing as the two of them were getting ready for a fairly big concert of your band, the biggest one so far, in fact.

“She sure made it,” Cairo smiled, remembering how you managed to scramble together a band and slowly but surely gain popularity and make it work in the end. A lot has happened since the two of you came back from your one-year break. Cairo just published her third book, Winnie had several art exhibitions and was gaining quite a reputation in graphic design, and you not only had your own band but also worked as a songwriter.

While she went to college you focused on your career, and she was immensely proud of you.

“Okay, get that lovestruck look off your face, your face will get frozen like that,” Winnie laughed and shoved Cairo jokingly, only for Cairo to shove her back until they fell back onto the bed, laughing like they did all those years ago when they were teenagers.

“Come on, I don’t want to be late,” Cairo sat up, a grin still on her face as she went to finish getting ready.

~X~

The bright stage lights, clear night skies above you, the screaming crowd in front of you, and in the midst of it all you saw Cairo standing near the stage, and you heard her louder than anyone else as you sang. The drums and guitars overpowered the crowd as people sang along with you and you had to force yourself to look away from her.

The band was still a bit young, so you were mixing in some covers to get to that three-hour mark and right now, to close things off, you were singing ‘Shapeshifters’ by Hands Like Houses, a fairly fitting song for you and Cairo if you could say so yourself.

“We will be unbreakable! Let's take it all as a reminder we'll never need, every place we dance, in a way, we never leave! We're toe to toe, side to side, beneath the stars, we will be unbreakable!” you sang hyping the crowd up as you played the guitar in your arms. And then you calmed it all down and looked at Cairo once more, and knowing what part of the song was coming up she stopped cheering and just smiled at you, her eyes filled with love. “From up this close, I can't see a thing, aside from you in front of me. I can't recall a night this clear, a better light to lead us here, no brighter diamond in the sky than those embedded in your eyes!”

You finished the song and thanked the crowd, one more concert finished successfully and with the crowd more than pleased with your performance. You just took a moment to take it all in, see how far you’ve come, you and Cairo, and Winnie as well, but Cairo especially. She truly overcame it all, coming out stronger than ever before, and you wanted nothing more than to spend the rest of your life with her, watching her blossom again and again, with each new book, each new achievement, each new thing that brought her happiness.

“Go get your girl,” Rick, your drummer laughed, and you just rolled your eyes, but you weren’t about to complain, Winnie would go back to the hotel with them, you and Cairo on the other hand…

You jumped off the stage and Cairo ran up to you and jumped into your arms, and you spun her around, grinning at the clothes she chose to wear. “Wanna ditch this place?” the two of you already planned this, which was why your precious motorcycle was parked next to your band’s van.

“Mhm,” she kissed you while you still held her, and soon enough the sound of the motorcycle engine roaring as you drove down the highway, taking a break from the big city became the only sound the two of you heard. The scenery around you changed, and you felt Cairo tightening her hold on you. Before she began writing her next book, before you made plans for a tour with the band, before work once again took up your free time, you would just take time and have fun together.

Away from everything else, just the two of you, the way it was long before you even fell in love with one another.

A/N: Short, but I really didn't want to drag things out, I thought there'd be more to write, but this just feels complete as it is. If I knew, I would have just combined chapters 11 and 12. Anyway, there goes another story, unlike with Lost I don’t intend to write side stories so, unless someone requests it, I am saying goodbye to Cairo. It was more fun than I expected and thank you all for reading! Oh, and, there's going to be a poll, yes, I am being evil again. Sorry 🤣🤣

Story masterlist / First part / Previous Part

Taglist: @deimaisgail @bee-keeping @marvelous-disaster @jmwetterlund @tekanparadiae

@alexkolax @ioveyouyouloveme @aaaaaaaaaaaaahhhhhhhhhh @autorasexy @lifeforsimp13

@puta1 @minnyyminny

#cairo sweet x female reader #cairo sweet x reader #cairo sweet #miller's girl #jenna ortega x reader #x reader #x female reader

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scroogemcducksbastardchild · 7 months

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it makes me a bit sad to see the asexual ineffable husbands fading into the background of the fandom. don't get me wrong, i actively enjoy and have no problem with content + headcanons that portray them as allosexual or allo-adjacent. it's fun and there are HELLA talented people literally everywhere you look!

but when i discovered good omens about a year before season 2 came out, it was the first time i had felt represented onscreen and within a fandom. here was an asexual love story widely accepted by the fandom, and it was beautiful! but i don't really get that vibe anymore for some reason? people who headcanon aziraphale and crowley as asexual (i personally headcanon aziraphale as a sex-favourable orchidsexual and crowley as a sex-ambivalent ace) have sorta been pushed into the corners of most online fandom spaces, and while i don't think it's intentional i do think it reflects a lot of the effects that amatonormativity has on the way we consume media.

we've been trained to favour depictions of sexual relationships in media because society tells us that they're more valid than non-conventional ones (think qprs, non-sexual romantic relationships, fwbs, etc). we're conditioned to view asexual romantic relationships as "boring" (steven moffat i'm looking at you). when we see a relationship like aziraphale and crowley's, which doesn't outwardly appear like a traditional romantic relationship, we're left wanting more and passing over the people who have already found everything they want in the ineffable husbands' relationship. i think the theories and fanart and writing are gorgeous and i'll never not love seeing a fandom (especially one so unbelievably close to my heart) thrive, but i miss seeing myself so wholly represented by the fandom's general treatment of its characters

(sorry if this was poorly worded i am. very tired right now and wanted to talk about my little guys /gn)

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thecurioustale · 4 months

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My Thoughts on Jenny Nicholson and the Star Wars Hotel

I watched Jenny Nicholson's four-hour "The Spectacular Failure of the Star Wars Hotel" video essay that YouTube showed me recently but which till now I couldn't bring myself to construct a day around. She's in great form here, and I'm pleased to say I go back as a fan of her work all the way to her Friendship Is Witchcraft days. (Blows my mind that she voiced all Mane Six characters, and others, so well.)

Anyway, long story short, Disney built a Star Wars hotel at Disneyworld in 2022 that was themed as a voyage on a spaceship, then proceeded to charge thousands of dollars per person per night, the most expensive publicly-available Disney theme park hotel experience by miles and miles, and then closed the hotel in 2023 after having spent hundreds of millions of dollars. Jenny went into the experience as a member of the core target demographic and spent four hours talking about all the ways it was an underwhelming or outright disappointing experience.

Her video reminded me of Hasbro's own misadventures in corporate greed with Magic: The Gathering, which has suffered in recent years from price increases, disengagement from the fan community, and a huge proliferation of product spam—i.e. more products overall, more ways to buy a given product (e.g., the proliferation of different boxes, which eventually killed the original draft booster box that had powered Magic for 30 years), and more variants of individual cards within and between products.

Hasbro and Disney are very similar in the economic space they operate in, and also utilize similar business strategies. Disney is essentially the S-tier megacorporation to Hasbro's B-tier, and we have seen many of the same corporate trends play out in both companies.

When it comes to Disney theme parks, they have massively increased ticket prices over the years, well beyond the rate of inflation, and have also implemented advance-scheduling systems for faster access to rides that has made the process of exploring a Disney theme park much less spontaneous and a lot more regimented and stressful.

Disney realized, years ago, that their limited number of theme parks—they only really have two, not counting the various sub-parks: Disneyland on the West Coast and Disneyworld on the East Coast—together with Disney's entrenched status as a cultural icon with lots of goodwill and brand recognition among the public, are vastly underserving public demand, allowing them to inflate the price of a single trip almost arbitrarily, well into the four digits—or even the five-digits if you're taking the family and spending several days.

The Star Wars hotel was Disney's "Magic 30": a product so ludicrously expensive as to incur immediate and universal condemnation by their own fans. It's clear to me what Disney was doing: They'd happily turned the conventional price knob up and up and up for years. Now they wanted to experiment with a fundamentally more expensive product class, basically five to ten times more expensive. They wanted to see if the market could support it. Because the growing disparity of wealth in America, together with America's obscene wealth as a nation relative to the rest of the world, means that it's definitely possible: There are definitely millions of people out there who could book a stay at the Star Wars hotel if they wanted to. And Disney was like "Let's see if they will."

And you know what? I think it could have succeeded. Because there really is an obscene excess of wealth in this country, even though most of us don't have any access to it. And we are a culture whose zeitgeist is ever ravenous for the next big, flashy experience.

But instead the venture failed spectacularly. Why? Because such reckless corporate greed is, itself, usually a sign of deep organizational rot and incompetency among the board and executive leadership. In other words, their hotel failed for the same reason they tried building it in the first place: Disney has grown stupid.

The way it failed, going by Jenny's video, is down to two independent reasons:

An outrageous degree of "penny-wise, pound foolish" thinking;

A fundamental failure to anticipate the comfort and pleasure of the guest.

The former is the more obvious of the two, and what really stood out to me as emblematic of it in this whole boondoggle were two simple thing: 1) The hotel rooms didn't have complimentary Disney+; and 2) the free loaner umbrellas for hotel guests visiting the Star Wars Land in Disneyworld were either so worn-out or so shoddy to begin with that, unless it was a big coincidence, both Jenny's and Jenny's sister's umbrella failed while in use. This was in the context of Disneyworld's most expensive customer experience ever, by a lot, and Disney was nickel-and-diming them. Jenny's video goes into a great depth of detail on the dozens if not hundreds of corners they cut; it was basically everything but the food. The result was an antagonistic relationship between Disney and their hotel guests where almost everything interesting cost more money (usually a lot more money) while almost everything included in the main ticket price was of cheap quality or stingy in its allotment. Every aspect of the whole process, from the scammy vibes of booking a room in the first place, to the pathetic after-care for customers who reported a problem after their stay, was likely to leave a sour taste in the customer's mouth.

When you're paying the most expensive prices in the history of a product category, you really just need to be given an up-front price that includes all or nearly all of it. You'll know what you're in for, and you can make an informed decision, and then it's really just down to the host to provide an experience and level of service that matches those high dollar outlays. But instead, as Jenny pointed out, it's like you're dealing with Spirit Airlines, where you're gonna pay a fee for literally everything beyond sitting your body quietly on the airplane.

Mind-boggling hubris. Disney needs to be broken up for the monopoly that it is, and this is just one more example of how convinced of their own inevitability and supremacy Disney has become.

The other main failure on Disney's part is the subtler one.

Jenny focused on how the Star Wars themed choose-your-own-adventure game, which was at the heart of the hotels' central conceit of "live your own personal Star Wars story," was irreparably dysfunctional. Not only was the app, through which most of the "experience" was conveyed, horribly designed; and not only were the tasks delivered through this app mostly busywork to anyone other than young children, consisting of little more than walking around and scanning inanimate objects; but the storyline's entry points and decision points were completely impenetrable through reasonable means, to the point of seeming arbitrary. Jenny proactively tried and failed to get into her preferred storyline; then tried and failed to get into any storyline; then was automatically sorted into one the next morning; and ultimately ended up having only one (dubiously) interactive story experience over the whole weekend.

She talked about how the tightly-regimented and incredibly full schedule was so mentally and physically draining that on the final night she fled her dinner table fearing she would vomit and had to stand in her hotel room staring at herself in the mirror for a while, to understand her illness (which turned out to be stress-induced exhaustion) and center herself.

She talked about how she didn't get to see a much-coveted music show during dinner on her first night because she was seated behind a giant column.

Really, these things are manifestations of the larger and more fundamental failure on Disney's part to anticipate the comfort and pleasure of the guest, as I put it.

As I was watching her video, two thoughts came to me in this vein:

First was that this whole experience really needed to be "playtested," as we might say in Magic. I mean, I'm sure there nominally was, but whatever playtesting they did was completely ineffective. Good playtesting would have brought most of these issues to light.

Second was that the Disney of today has completely lost touch with the namesake of their industry: hospitality. This would never have happened at a new luxury resort by an established world-class hotelier a century ago. Because they understood the basics. Little things, like hot towels.

I could tell just from Jenny's video that this whole hotel was decided from the top-down by soulless, disconnected corporate suits who blatantly disregarded whatever good suggestions I'm sure the Imagineers® came up with. For the failures to be as expansive and ubiquitous as Jenny's video documented, no doubt the institutional rot extends down at least as far as the project manager level, if not down to individual Imagineers® and beyond, but there have to be at least some good ones, and clearly they were overruled early and often. Whenever Disney's leadership was faced with a decision between anticipating the comfort and pleasure of the guest, and saving a couple bucks on a guest who was literally laying out several thousands of dollars to be there, leadership chose the latter.

They were so arrogant that they believed, without noticing or questioning it (unless Disney's leadership is in fact cartoon evil), that they would tell the customer what constitutes a good experience, and the customer would pay top dollar for it. And so you get a guest experience where customers who are actively trying to pick a given storyline can't get any storyline and are later seated for the dinner show behind a giant fucking column.

It's sad, and we should all be glad that their hotel failed. Not that Disney is likely to learn the right lessons from their failure, but the long-term solution here is for leisure dollars to be directed toward other companies. For the several thousand bucks that Jenny paid, she could have had a true luxury vacation in most parts of the world—and for longer than two nights.

One thing that I noticed during the four hours of her video was that Disney, or at least the people in charge of developing this hotel, didn't seem to understand what constitutes an enjoyable story experience. I am forgiving of the low level of complexity in the various puzzles, since the public is famously stupid plus a lot of these guests are going to be children. But there was so little imagination in the actual plot beats: Chewie sneaks in, gets arrested, and busts out. You get to help some Resistance fighters smuggle their luggage. Like, it's insipid. I mean, ultimately, most pop storytelling is insipid, but what I mean is that the dressings were insipid too. Dressing a story up is what makes stories great, at least at the mainstream level. There was no pomp and flourish; no clever interweaving; no electric events that put people on the edge of their seats. Just walking around on your phone for two days scanning crates and occasionally being in the same room while somebody busts Chewie out of the clink—assuming you even make it to the story events in time, since they often fired early.

The whole thing smacks of rule by committee, too many cooks, and suits suits suits all the way down.

I think it's a sign of the times that this is happening. We are once again in Robber-Baron territory in this land. The big corporations and the oligarchs who run them have become so obscenely rich and so utterly disconnected from ordinary life, and their corporate cultures have become so masturbatory and so officious, that they are increasingly creating products for idealized, phantom audiences. They increasingly don't understand real people or real life.

And we can and should bring the weight of the government down on them, more to break up monopolies and allow new and established competitors to seriously challenge them than to actively punish these companies for making money, but even more so we just need to spend our dollars elsewhere. I mean, I'm speaking hypothetically here; I am poor so none of this even applies to me in the first place.

Hence why, even after inflation, this is still just my two cents.

#Jenny Nicholson #Star Wars Hotel #Galactic Starcruiser #Justice for Amethia Tope

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