My all time favorite complaint people have about popular media with even just slightly problematic themes is when they say stuff like "this is the worst thing I've ever read/watched" like ohhhhhh. So you just don't consume a lot of media. I get it now
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Interesting thing with the Bethesda fallouts (I've been playing a bit of Fallout 4 recently) is that they, at least in my opinion, misunderstand the fun parts of the first 2 games. I don't think think the setting is a very important part in those games, it's a part of it but it's just set-dressing for the gameplay and fun quest stories and how the players interact with them. I think there's some potential in say Fallout 4 for interesting quests or stories (I've done a couple of quests but a lot of my knowledge is from the Joseph Andersson video), but the solutions to any story just leads back into the shooting gameplay loop.
This is, I think, antithetical to the format of the originals, which were based a lot more in having the format of a TTRPG. If your TTRPG sessions all boiled down to shooting people with basically no alternative solutions to quests I think your players would get bored. Since it's got shooter mechanics this kind of salvages it, it becomes it's very different own thing. But the wonderful gameplay loop of those first two games is lost, and I kind of miss it. Man, I need to replay Fallout 2.
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Not sure I care enough to engage with the post, but to read SVSSS + extras and come away with the interpretation that SJ doesn't care about why YQY failed to save him, just that he did fail, and therefore would never forgive him or change his behavior towards him if he learned the truth, feels off-place to me. It seems to lean into the view that SJ doesn't actually care about YQY, just sees him as a useful tool, and thus couldn't be hurt by the supposed abandonment - with that interpretation it would then make sense to think he would neither care nor change his behavior (towards YQY) upon learning what actually happened.
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I've come to the conclusion that loving young royals doesn't mean I can't be critical about it, maybe especially bc I love the show so much I have such strong feelings about it, good and bad and I can love parts of canon and agree with it and appreciate it but I don't have to love it all. I have accepted that it's okay if I don't accept the ending and I don't have to force myself to support it. It's okay to not agree with all of canon and it's okay to not side with all of the creators' intentions/views. Loving a show doesn't mean you have to take everything the writers say on face value and that's the only version that is allowed to exist. Canon isn't everything and fandom is about curating your own experience that makes you happy and not miserable. You don't have to dismiss canon in every aspect and ignore it entirely, that's certainly not what I want but there is a fine line between being canon respectful, allowing some parts to exist and sometimes, yes, you just have to say "fuck canon" and move on for your own sanity and wellbeing
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British publishers seem to have a strange habit of classifying nineteenth century French novels as children’s books (a nebulous category I know- children are often more than capable of reading so-called ‘adult’ books but I find it odd nonetheless).
Jules Verne is the first one that springs to mind, but the one that always confuses me is ‘The Three Musketeers’. Yes it’s got all the swashbuckling ingredients that make up a good boys’ own story, but I’m really not sure that it’s strictly a ‘children’s’ classic.
This brought to you by the fact that I’m trying to sort all my other Dumas books into order when I realised that the ‘Three Musketeers’ wasn’t among them, even though it’s part of a wider ‘series’, the other books of which are in my ‘adult’ books. But because my copy of ‘The Three Musketeers’ was part of a set of ‘children’s classics’, it’s languishing in a box somewhere, alongside The Railway Children and the Secret Garden (great books both, but very different in tone I think). I don’t want to break that set up but I also don’t see why the story of Milady de Winter is more child appropriate than the Count of Monte Cristo.
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