#and I sympathize

[fipindustries]

i almost never do vent art, much less post it but man, i have been feeling bummed out recently

[bananonbinary]

here's your fucking feedback @staff

list of problems the removal of icons causes:

i cant see my friends

ruins the sense of community

can't tell at a glance who's online right now and what they're interested in

literally cannot tell without scrolling back up who put a post on my dash if it has a single addition attached to it. or like. 2 paragraphs in the op.

i cant click my own icon at the top of the dash to quickly view my own blog

can't tell who someone used to be if they change their username

squashes the margins between the menu and posts, making the whole dash feel more cramped

ruins the quick visual cue of how long each post is and where it ends when you're trying to scroll past ones youve seen before

people put a lot of creativity and individuality into icons, and now i never see them

makes people who primarily reblog instead of make their own posts all but completely disappear

list of problems solved by removing icons:

?????

who the fuck was asking for this

ive never in my life seen a website or app that has profile pics forcibly HIDE them, so i guess you did it you made the dash unique again in the worst way

here's some more feedback: maybe when you run an a/b test you should, idk, actually have a feedback form people can fill out about it somewhere

[ursa-majora]

Everyone talks about how Appa is apparently obese for a sky bison and Aang is over feeding him. Undeserved in my opinion (hes just big boned obviously)

But nobody talks about how Druk (Zuko's dragon) is a complete fatass compared to other dragons.

For example: These are pics of Roku's Dragon, Fang, and Sozin's Dragon

Do you see how long and noodley they are. They're actual dragons too, not Wyverns like GoT dragons. (Note the 4 legs)

And heres Ran and Shaw:

See, still very noodley. And these are quite old, large dragons.

And this? This is Druk:

And Its not just the angle because even when he is sitting down he's fat

Obviously Druk has lived a life of luxery, he's a pampered little prince

[euphorial-docx]

people need to realize that what’s going on with palestine and israel isn’t about anyone being jewish.

there are jewish palestinians, muslim palestinians, christian palestinians being trapped in what is essentially an open air prison for children and the elderly with no food, water, or electricity just because they’re palestinian.

this is about colonization, and unfortunately so many people are falling for the blatant propaganda being turned out by an apartheid government (israel).

the only solution to stop all this violence is to give palestine their land back. that is the solution.

[mushroomstairs]

(more dragon age hype) so if solas is stuck in the fade... he could make some friends in there, right

[thesaintofnevergettingitright]

Watching the Percy Jackson series has made me empathize with Aphrodite more than I ever thought possible.

Cuz these kids are TWELVE and are out here just trying to SURVIVE, but every time Percy and Annabeth interact I’m giggling and kicking my feet like “Hehehe you don’t know it yet, but that is the love of your life. Yes, yes, there’s a big scary monster but what about the slow-burn romance?”

And I always found it so annoying in the books when Aphrodite would show up and only be interested in the romantic dynamics between the characters and otherwise be kinda useless. But now??? I’m totally on the same page with her. Cuz I know they’re going to fight a million monsters and win, and at the end of the day one fight looks just like the next. But they only fall in love ONCE and it’s AMAZING.

Like damn. Apologies the goddess Aphrodite. I suddenly get it.

[taffywabbit]

I finally watched breaking bad (all within the past week or so while I worked, finished it and watched el camino last night) and I'm confident this isn't a new thought I'm expressing or anything but genuinely how DID an entire generation of dudes convince themselves Walter White was cool and admirable and intended to be sympathetic. I know ppl just lack media literacy sometimes but I'm still so confused

I don't think I've EVER watched a piece of media that so blatantly depicts a guy making the worst possible decisions at every turn and having his life ruined for it and not being redeemed or made sympathetic in any significant or lasting way. the kinds of justifications villains USUALLY give that make people consider them "morally grey" or "tragic" or whatever (everything I did was for my loved ones, I did what I had to to survive, once I was in this I couldn't get out, I just needed you to trust me so I could keep you safe, etc etc) is ALWAYS framed as complete self-serving bullshit when Walt says it, and one of the only shreds of personal growth he ever exhibits in the whole series is when he finally fucking admits that. every time he does something even remotely cool or drops a quotable one-liner, something terrible immediately happens that makes everything worse and makes him look like an unreasonable idiot asshole again. by the end of the series the ONLY characters they can still contrast as being morally "worse" than him are literally a bunch of bloodthirsty neonazis who kept a guy in a cage for several months. this show is practically SCREAMING at you the entire time not to admire Walt. why did every dude I knew in highschool have his face on tshirts and Facebook pfps.

I just don't get it. at least with The Dark Knight's Joker it was like, a feature-length movie and that's it. you spend a lot less time with the Joker and it has a lot less time to delve into his motivations, so there's way more room for flanderization and misinterpretation as people extrapolate the few cool/interesting/sad things they saw into a whole nuanced misunderstood guy in their heads and online. Walter White has 5 seasons' worth of 45min episodes to convince you beyond a shadow of a doubt that he is a miserable fucking loser who ruins everything he touches because of greed and selfishness. if you weren't watching it for that, what WERE you getting out of this. what DID you think this show was about. am I just missing some key piece of context from 2012 or whatever that would help me understand this

[romanceyourdemons]

the majority of the postwar american and japanese wwii film i’ve seen is like the real enemy is War Itself. the postwar chinese wwii film i’ve seen is like the real enemy is The Japanese, check out these war crimes. seriously look. i’m not going away until you do

[star--nymph]

Vivienne's fear being 'becoming irrelevant' isn't something that's linked explicitly to her pride, no matter what Solas says about her (and the irony of Mr.Pride himself saying that should not be lost on you), it reveals what and who Vivienne truly is.

She's a survivalist.

Because we don't spend as much time in the Free Marches or Orlesian circles, we don't get to experience what being a mage is in these cultures. In Ferelden and Kirkwall, a mage is a lesser being without freedom no matter what they do--but in the Free Marches and Orlais specifically, mages are commodities that are given freedom so long as they play an entertaining enough role. They can explore the world if they have a noble patron, if they catch the right person's eye. They are, in a way, two sides of the same coin--refusing mages agency and forcing them to relay on higher powers. Vivienne lucked out, as sad as it is, when Bastion fell in love with her; she found someone who was contrarian enough to recognize her as a full person and also someone with power that could help her rise through the ranks. This is not to say that Vivienne on her own wasn't an exceedingly talented and intelligent individual--by nineteen she was already the youngest full fledged mage in Circle history and she was skilled enough to make herself an enchanter. But, I can not emphasize this enough, none of that matters if she didn't also play the Game and impress enough people.

Vivienne could have been the most brilliant mage in the history of Thedas and it means nothing if she was overlooked by nobility.

So when Bastion made her his mistress, she gained not just a lover but also a means to an end. Now she can use her magic to protect herself. Now she can roam where she wants and not be question for it because she's Madame Vivienne. Now, she can walk into the Orlasian court and belong there.

And what happens? Celene notices her and makes her the Court Enchanter, a position that has always been the equivalent of a jester. Vivienne took that title, ignored that it was essentially a glorified insult to who she is, and made it a position of power. She made the Court Enchanter into an advisor, a political rank. She had done the impossible and made mages an actual political entity in the Orlasian Court, something that wasn't seen outside of Tervinter (not counting what players can do under very specific conditions if they made mages in DAO and DA2).

All that, however, only continues as long as the court recognizes her as something worth their attention. Vivienne needs to maintain her act as Madame De Fer, The Lady of Iron, the Court Enchanter, The Jewel of the High Court, because the second she just becomes Vivienne, it's over for her. The assassins coming raining in, her name gets devoured by rumors and gossip, and she'll be found dead at bottom of the stair case with a dagger in her back if she's lucky.

So of course when the Circles fall apart during the Rebellion, she clings to that Loyalist Mages to maintain that structure--of course she moves her pieces to the Inquisition, knowing that if the Circle DOES fall, she at least as another place for herself and mages latch onto--of course when she hears that Celene replaced her with a new Court Enchanter that appeared out of no where, she grows to resent Morrigan.

Like, Morrigan literally pops up out of thin air, makes herself invaluable to Celene, and then plants herself in the place Vivienne had to claw her way up to and create so she could survive. Would you not be resentful when your life's work is usurped by some random witch of the wilds because she happened to charm the Empress? Everything Vivienne strived for all whisked away because the court find a gem who glimmers ever so slightly more than Vivienne.

So yes, Vivienne fears becoming irrelevant because the world has made it so that irrelevance for an Orlesian mage means death.

[juniperhillpatient]

I know poor little meow meows are so often men but gosh do I love a little guy (who is a girl) that just has everything in the book wrong with her & also she’s got the most pathetically sad backstory ever. yes she’s capable of atrocities but have you seen her big sad eyes & her over the top depressing sob story? ignore the blood magic & grave robbing did you know her life was already so bad & then it got insurmountably worse because everyone around her couldn’t resist the urge to kick the shit out of her when she was already down 🥺

[bet-on-me-13]

The one where Bruce is the asshole (again)

So! We have a typical story where the JLA finds out about the Situation in Amity.

Whichever way they find out doesn't matter, but either way they end up sending Batman to do a threat analysis and review of whether this requires their attention.

And while there, he runs into a Kid who obviously needs to be saved from his Abusive Home. Look at him, he's far too thin, his grades are horrible, he has many unexcused absences, and he has bruises hidden under his clothes.

Even after figuring out that Danny is Phantom the local Hero, he thinks Danny needs to be saved from his Parents.

I mean, it's plain to see! They Hates Ghosts with a Passion, negelct their son very often, shoot at him nearly every day, and are probably the ones who killed him in the first place!

So, with no input from Danny himself, Bruce calls CPS on the Fentons and uses his Wealth to expedite the process and avoid the actual Investigation. (I mean, why would you even need one? It's so obviously a bad home!)

The Fenton's are arrested, and Bruce reveals that Danny is Phantom to convince the Courts that they are horrible people for shooting at their own son, and that they should be locked up (ignoring the horrified looks on their faces, probably cause they were living with a Ghost for so long, thats probably why).

He immediately offers to adopt Danny, even when Danny vehemently refuses his offer. He knows that Danny will come around to it, he's doing this for his own good. He still thinks his Parents were good people, and not thr Villains they really were.

Meanwhile Danny's life has been completely uprooted thanks to the self-righteous machinations of an Adoption Crazed Fruitloop! And not even the usual one!

Sure his parents were often busy with their work, but they Always set aside time to hang out with their kids and make sure they were okay. They never abused him, the neglect was only for like a month or two when the portal before they got their act together and apologized for it, and (most importantly) THEY DIDN'T KNOW he was a Halfa when they shot at him! They only found out when the ASSHOLE revealed his Identity in Court!

And Danny is Extra enraged by that part. The Adoption Crazed Fruitloop had revealed his secret identity for the ENTIRE WORLD TO HEAR!

He would never be able to live a normal life anymore, even if he managed to get away from the Moron who caused all this!

Bruce Wayne was a Villain in his eyes.

He ripped him from his home and from his family (basically kidnapped), revealed his identity to the world so he was forced to stay with him for fear of the GIW, and spun the whole story so that it looked like he was the Good Guy in this!?

It was official. Danny Hates Bruce Wayne, possibly more than anyone else in the World.

And that's a High Bar.

[bawdza]

-🔈🔉🔊

Violet TWDG they will never make me hate you

[mysterycitrus]

PLEASE go off about Bruce

the popular modern character beat for bruce where he’s this truly unhinged machiavellian mega genius actively plotting his own downfall is so far divorced from his neo-noir detective roots it makes me want to tear my hair out

it really goes without saying that bruce is singularly driven by restorative justice, more than literally anyone else aside from maybe cass cain. his decision not to kill under any circumstances is not a selfish one, it’s a selfless one, because bruce understands that no one person should have the right to take a life. if killing is a legitimate action to take against a threat then anyone, whether it be an individual or an institution, can be incentivised to kill as a first resort. bruce understands the complicated nature of crime and why it occurs. he understands community and the importance of social support, and how human connection will save lives. he never wants anyone to feel the pain he felt in that alley ever again.

he’s a detective who mistrusts the police and actively works against them. combat and physical violence aren’t what drive him, it’s an unfortunate consequence of opposing corruption. if he can save a child instead of throwing a punch, he’ll do it. if he can talk someone off a ledge, he’ll make the time. he can’t unknot his own heart, but he still tries. it hurts, but he tries.

bruce’s purposeful disconnection from others out of fear of losing them is driven by selfish desire, because he is (deep down and hidden away) a profoundly loving person who believes everyone deserves a chance. this is shown in how he raised his kids — he’ll smother them to protect them while forcing himself to hold them at arms distance. when they reflect his worst habits back at him, he’s horrified. he’s objectively a bad parent. no one else should let him adopt more children. he saved dick grayson and jason todd and cass cain and tim drake. many things can be true at once.

the interpretation of him as either a brooding, violent asshole with no redeeming qualities OR a somewhat pugnacious but ultimately emotionally mature father figure both miss the point of bruce wayne’s primary motivation, being that he is still in crime alley as an eight year old, kneeling in the ground amid the pearls, and he has not moved in thirty years. he can’t leave, because if he leaves then who will be there to guide the next dick grayson, the next cass, out from those shadows and into the light? he is anchored by his own weight. so much of what he does comes from a need for control, a hyper fixation on predicting the outcome, if preventing the worst case scenario before it happens. the rest of it is love in motion.

[shorthaltsjester]

there are literally no standouts in downfall because everyone sat down at that table and said hey you wanna see something cool and proceeded to Become their characters but idk if it’s because they’re beside each other and that aids the dynamic or just because it’s the delicious similarities and insurmountable distance between the god of death and the god of (in various ways) life but ayden and emhira’s interactions were so chewy and delicious. i’ll be thinking of their exchange fairly early on after ayden cast lesser restoration on that old man and emhira not cruelly but just simply stating “you cannot heal everything.” and ayden’s equally simple reply “we can always try.” emhira seeing the family trist has built and wondering at the presence of children, “surprised there is laughter in such a horrible place” and i know she’s speaking of hawk’s hill but i wonder if she is also speaking of exandria itself in some ways. the delicious space between in and out of character that only really happens in improv stories where as brennan is narrating and says “in this dark room” and nick interrupts and adds “it is not dark.” brennan’s incisive point in the cooldown that while the love that ayden and trist have for mortals and for exandria is warm and the kind of love someone would likely Want from gods, there is something maybe more honest or whole about emhira who says . actually these mortals are little shits that will kill you not because they fear you but because they hate you. whose very existence should be (and still often fails to be) a reminder that the gods can be usurped by mortals. the insight nick shared in the cooldown that ayden does not forget emhira’s origins but in a way dismisses them, that the god of death is a different beast. ayden wanting to find. way to save the people of aeor, insisting that the prime deities Win if they can find a way to do so. emhira reminding everyone that death is inevitable (and she does not add anything to clarify that she intends such a statement to only exist for mortals) as she argues for them to work to take down aeor and the people in it. the fact that the god with the most present connection to mortality is also the one given the most explicit clarification that she Is the god we know as SILAHA calls her the matron, brennan’s narration clarifies purvon is her champion, taliesin as asha asks for clarification on the recognition of emhira as a god and prompting the familiar spectre of a woman in a white mask.

i want to be very clear that when i say there are no standouts i Mean it because i’ve been awed and endeared and intrigued by every single character choice everyone made and as always brennan’s narration is so incredibly well suited for the mission impossible greek tragedy vibes that comes with this story and i’m so fucking delighted by the fact that laura, ashley, and taliesin are playing gods that their characters have known quite well in the past. i’m incredibly excited by what we’ve already gotten to see from abubakar, nashir, and nick and cannot imagine what other greatness is to come. i’m psyched to see the relationship between asha and the law bearer and am delighted that (perhaps for now perhaps for the whole arc) it is being seen through the lens of “my wife promised me a visit with apples and all i got was a rock ice emissary”. i also have many incoherent thoughts about the fact that, of the players who appeared as the same character in the opening and the story, taliesin’s ash and asha are the ones whose name remains the most unchanged.

i’m obsessed with the fact that this creature sent as a stand in by the god of law and duty believes his primary gift is love. while there is a certain mourning and sadness to every god we see, that SILAHA has a certain playful whimsy and jofyful curiosity about the world. that the only one of them who has been mortal before stops to steal an imp necklace from the neck of a drunk on the train (and that moment between brennan’s narration that this man will be dead by morning but, with death standing invisible in front of him, he is incapable of seeing it coming, and then laura as emhira breathing in deeply and brennan having that spark a coughing fit. they are Story Telling). asha seeing the erased image of a god, of a family member and saying “there’s a hole in all of us.” brennan narrating “this is a place where they tried to kill a story. it’s a very frightened thing to do.” (and god. the motif of fear. especially given the very present fear felt by the gods in current day exandria. they’re doing insane things in the critical role 3 part departure).

trist reminding ayden “he never tells the truth” and asha contesting “he only tells the truth, it’s just rotting.” emhira and asha both as perhaps the less Good™ much more neutral but doing so in such different ways, asha as bitter and hungry while emhira seems uncomfortable but there’s a familiarity and a certainty in her discomfort with mortality (the law bearer would also be included here but the emissary seems much more like trist and ayden (for now) than emhira or asha). something as insignificant as trist and her husband speaking to their children and affirming that little lies are okay while trist has lead a significant part of her life likely dishonest about who she is. the fact that there’s a certain childlike quality to the emissary who they’re all charged with ensuring makes it to the end of things even if they cannot. the fact that nahal (unclear which god they were, and i’m assuming it’s the first god of death but regardless still an absolutely compelling development in a short amount of time) in those opening moments is horrified by the concept of away which is unfamiliar to them only to soon after look upon their family and say. maybe away was better. Especially if those were words spoken by the god who would one day be replaced. these three episodes are going to haunt me and i’m excited to meet the ghosts.

[juniemunie]

Broskis ts!underswap is so fun. every single part of it is *chefs kiss*

I went in completely blind and honestly i think it was the best move i could have made

i love how its just swapped roles but not personalities so it leads to stuff like this its so creative

Anyways have some more self insert sansnomaly (and chara)

[chironshorseass]

the thing is, we were never meant to sympathize with luke when he betrays percy. we aren’t meant to see his inner turmoil. we aren’t meant to see hesitancy, or regret. it’s meant to be a slap in the face. luke takes percy to the woods knowing full well what he’s about to do. in tlt kronos orders him to kill percy because he’s too volatile; kronos said so himself when percy hijacked luke’s dreams and began to figure out there were bigger things at play. the thing is, when kronos orders luke to kill percy, he doesn’t hesitate. that’s the point!!! it is essential that luke is so blinded by rage and vengeance for the gods that he will stop at nothing to get what he wants (the god’s destruction). percy accuses luke that kronos is using him, but he just retaliates that the gods do the same, and they do!!! but see, the thing is, luke’s whole point is that he’s so focused on the god’s injustices that he forgets what’s important. he goes for the “greater good” but he destroys his family, his life, in the process. by attempting to dismantle a system, he turns to another system that follows the same oppressive logic. THAT is why luke fails. THAT is why it’s so important he be blinded by rage, because it’s his inevitable, tragic end. he’s doomed by the narrative from the start. yes, we’re meant to be surprised by his betrayal because of how cold and calculating it is, but also it’s important to set the grounds for luke’s character to be this angry, vengeful boy because later on we come to understand why it is that he made those choices. we see annabeth’s side of things and percy’s side. we see luke’s side. we see many sides. we see a man who is too far gone yet comes to understand, in the end, that he’s been doing more harm than good to those he was supposed to protect (annabeth is the most obvious example). we get a complex character who won’t hesitate to kill but who also won’t hesitate to sacrifice himself so that he can save the family he has left.

the thing is, luke was supposed to be angrier in the show. percy was supposed to be angrier in the show. they’re both foils. luke is what percy could become, if percy lets his anger win. so, to change—even if it’s only slightly altering—their characters, is to change the point of the story. because luke tries to kill percy in his betrayal and later percy tries to kill luke but then percy starts to understand luke…until luke is gone and kronos is gone yet the gods don’t change but percy does. and percy’s initial anger is supposed to transform and he’s supposed to see what luke saw and the cycle continues. the thing is, it’s not even one of the worst changes the show made, yet it’s still so, so telling that they failed to see why it’s important to let your characters do bad things, to make mistakes, because that’s how a story can carry on. that’s how you give a story depth.