#NO ONE TALK TO ME I SHOULD'VE BEEN THERE

[garciapimienta]

goodbye camp nou 😭😭😭

[daily-sifloop]

Mmm draw some Sifloop angst please

Day 8: They wouldn't say that... would they?

Credit for the Mal du pays Loop dialogue goes to my amazing best friend <3

[necrotic-nephilim]

there is not enough femslash in batcest circles. the girls deserve to be just as weird about each other as the boys are. if BruDick gets to be weird father/son/brothers/lovers/friends/rivals/soulmates then it is only fair that Babs/Cass get to be mother/daughter/sisters/lovers too. Something about that deep intrinsic but undefinable love that is born out of trauma, especially if you consider Cass not knowing what healthy love looks like in the first place. i think it's fun and deserves just as much fandom content.

besides that, you can get even more niche with rarepairs like Helena/Steph. Huntress/Spoiler: Blunt Trauma is already a fantastic comic and even though it's their only real canon interaction it has so much potential. very comparable to TimJay in how Helena tries to get Steph to understand her morals and the corruption you could play with it.

batman: huntress/spoiler: blunt trauma (1998)

that comic also highlights on how both Steph and Helena are outcasts of the Batfamily and don't have the approval of Bruce to be doing what they do in "his city". I think there's so much Potential in Helena taking Steph under her wing because Bruce won't let her in and it becomes a weird codependent toxic sapphic mess. I think the protectiveness Helena feels over Steph from the get-go is so clear and the way she wants to look out for Steph, wants to make sure Steph understands the real world? I love them. Helena should be allowed to steal Steph, actually. I think it'd be fun.

there are a lot of other possibilities too like Babs/Steph or even getting weird with Helena Bertinelli/Helena Wayne and the existential question of "is it selfcest or not." But these two specifically live in my head rent-free, especially Helena/Steph and one day I'll convince everyone else to ship it too.

[misty-wisp]

was missing my sons

[menlove]

the way I cannot stand sa//ltburn but I've made people watch it with me 3 times

[carnivalcarriondiscarded]

tell me why i wrote 4k words of fantasy au the other night but overall Absolutely Nothing Happened in it

[bredforloyalty]

dude. thank god for the people who post every fleeting thought they have about a wack ass fucking tv show and the people who reblog all of those posts especially the ones without context

[cryolyst]

~

[passthroughtime]

sorry @kamuro-junrenka i just giggled from the realisation

then his next words

are SO hypocritical it's unreal

sorry i just love the idea of yagami trying to talk sense to kuwana when it is KUWANA who sees things more clearly. (no kuwana apologism here, he was stupid with revenge killing and he knows that this is who he had to become though he doesn't like it. but HOW and WHO are you teaching this lesson to if your victims just disappear without any reason/explanation/message to the world... lmao.) gonna munch on this thought a little more, i think that is a good point of view and i can elaborate a little later (i have one post that i've been cooking in march, but at that time i decided to finish the game first and write it... and after finishing LJ i've been grieving my loss of judgment... haha see what i did there.)

actually the boat scene is insane in the way that we see live how yagami's convictions tear at the seams, and i WILL be insane about it, yet again, later. ok, whatever, not the point though right now. for me, LJ is about telling yagami (and, consequently, us) that good/bad is not the only possible options and they are even not mutually exclusive.

yagami needed that lesson (hehe) after JE because that was as clear cut case as it might've been. there were bad people and there were good, he's mistaken okubo putting him under the "bad" category but he did nothing wrong and is good in the end, but there is nothing deeper than that. (and that is why i believe that LJ is more thematically rich... while not being that much of a murder mystery that is JE. i love them both for what they have and what they lack though, it's interesting to compare them with each other.)

tbh i think that yagami's past and upbringing is a little downplayed, meaning the only thing that is questionable is the mention that yagami does help the matsugane family with uhhh the crime chores let's say (i don't remember if as a lawyer or as a detective, but i do remember that this was the case). but it mentioned only in passing, and helping to defend hamura in court is not that big of a deal if we see that yagami isn't happy with the outcome though the ruling was justified, yeah?

and though his ties to yakuza are left rather unexplored (considering half of his friends are criminals of some kind LMAO yeah sugiura this includes you too) and doubtly this will be the theme that will ever be brought up again, it is important to remember that yagami as a person is a product of two different worlds. the "bad" and the "good".

the beef i have with the "good yagami" take is not whether he is a good person, but more like, with the notion of him not seeing the nuances of the situation like ever? which makes him so good and right about everything, that he does everything according to law and etc... while i picture him as "let's do it baby i know the law" kind of person.

there IS a moment where he's a little bit stubborn about his convictions, but that's because *gestures* kuwana (AND I WILL WRITE ABOUT IT MORE... SOMEDAY... SURELY...), but not to the extent some people believe him to be (i remember a meme where "kuwana explains his pov (an explanation so long it's unreadable)" vs "yagami explains his pov (which only says "murder bad"). yeah it pissed me off pretty bad.)

so... yeah. i firmly believe that LJ is not about a good/bad dichotomy, though this type of story is expected with the starting factors we get. in the end, even the protagonist left kind of saddled with unnecessary feelings troubled about his convictions that in theory are simple, yet in practice contradict each other.

[magentagalaxies]

.

[governmentmandatedryujinstan420]

i can't believe i come back momentarily from the dead and it's with more cancerous memes. Two versions bc god had other plans, none which included not having both of these.

[risingsunresistance]

twitter is entering their "rts > likes" phase now that likes are private after they spent years calling us ungrateful for being demotivated by ratios lmao

[tevatron]

i'm so glad i won't be working with my pi after this month. i think i've reached my limit. i just can't deal with her anymore

[marinsawakening]

BOTW's story is kinda weak because it sucks at information distribution, but I think it did a great job incorporating the gameplay into the narrative. Breath of the Wild is an open world game, meaning the onus is naturally on exploration and freedom. By contrasting this main gameplay loop with the memory flashbacks and given information of the past, it manages very naturally create a narrative of past vs present and restriction vs freedom.

Almost everything we see of the past in BOTW creates this stifling feeling of repression. It is a past filled with restriction, where everyone is given a very narrow role to play and punished when they do not play it well enough. Everyone is always prim and proper, anchored by tradition and the 'right' way to do this.

By contrast, in the present, if you want to spend a whole day trying to make your way through Hebra in your underwear, you can just do that. Sure, you can also just beeline for the Divine Beasts and then the castle, but few people (speedrunners not withstanding) will do that, and moreover, people aren't supposed to do that. Breath of the Wild wants you to spend your time fucking around rather than completing your divinely ordained world-saving quest.

This creates a contrast between past and present, where Link and Zelda are pushed into restrictive roles by precisely this destiny. Link is still mostly a vehicle of projection for the player, but is nevertheless established as a character in his own right in the game, and what limited notes of characterization we get indicates that he was absolutely miserable in the past. In memory cutscenes he's stoic and unemotive (probably part deliberate characterization, part effort to preserve his status as a blank slate), and Zelda's diary establishes him as not talking because he's afraid of saying the wrong thing. Whichever way you read his character, he's clearly very repressed.

And in the present he's spending a whole day seeing if he can get a picture of a bug, or eating dubious food, or chasing ducks or whatever. Because that's what you're doing. And since you're probably having a great time, you're gonna project that on the character designed to be projected upon. While I do still think past!Link could have done with a little more emoting, the game overall does a good job utilizing Link's status as a player insert to create/add to the story and its themes.

BOTW's chosen story is one set in the past, mostly about Zelda and her failure to fit into the role she's given. It's a story of restriction and repression. It is a deliberate contrast between the freedom the gameplay gives you. With this, it does a great job incorporating the gameplay into the story; rather than a game where every second you spend screwing around and exploring feels at odds with the urgency of your quest, the fact that Link, the repressed and miserable knight of the past, is screwing around freely feels like character development. Now having the freedom to screw around rather than single-mindedly pursue destiny is the point of the story.

In addition, it adds to the game's overarching theme of past vs present. In the flashbacks, we see an overreliance on Sheikah tech and ancient plans, hailed blindly as a savior when we know exactly this will be everyone's doom. Breath of the Wild never posits that we should ignore or scorn the past; on the contrary, it encourages exploration of it, both in the past with Zelda's character via her fascination with Sheikah tech, and in the present, with encouragement to uncover Link's past and the gameplay's incorporation of Sheikah tech. However, it cautions against worshipping it. The past is something to uncover and honor, but not a thing to live in; ultimately, you must forge your own path in the present. This is reinforced through the freedom of the gameplay and the aforementioned contrast it creates between the past and present. Following the past brought doom upon Hyrule a hundred years ago; doing so again would surely repeat this. You are encouraged to ignore the blueprint of the past and forge your own path. Even and especially if it involves riding your horse everywhere but the plot points.

By the very nature of the game's design, you are creating a story where Link wakes up in a wild future filled with endless possibilities and obtains a freedom that was inherently restricted in the past, letting go of the past and celebrating the future.

It's not groundbreaking or revolutionary or anything, but I think it's a very solid example of incorporating gameplay into the narrative.

[carnivalcarriondiscarded]

i don't even like video games so why have i been playing Red Dead 2 for the past eight hours gay

[ftdino]

i think it's a little odd that people of colour are consistently obligated to be patient and understanding when it comes to whitewashing. we are put in a position where we will be villainised if we don't react passively to this kind of harm. then, frequently, when we give people this patience and calmness while speaking to them, they don't take it seriously. they don't understand the extent to which it is harming us because we aren't allowed to show how much it affects us.