#and the implications…

[wishyoudwell]

I often think about the meaning of the Palace of the Four Sword extra dungeon from A Link To The Past in the context of the LU canon…there’s a lot of different interpretations that can be dragged out of that alone. I like to see peoples interpretations, takes and thoughts on it. Like: Did Legend fight dark shadow replicas of Four, or was that Four himself? If it was Four, what happens to Four, and how does Legend live with the knowledge of that? Is there guilt? Does he feel burdened, knowing that something untimely happens to Four? Is there guilt in killing Four, or what looks like him?

But there’s something else I often think of too, timeline implications.

This might have been answered by others before or theorized, but, I just want to ramble and talk, so and so. I mean it’s interesting!

If something terrible befalls Four, it probably happens sometime during his lifetime, that means after Four Sword. This happens before Ocarina of Time. Ocarina of Time splits the timeline. So logically Fours fate is unchanged by the time the spit happens.

In the Downfall Timeline, Legend fights him and eventually, possibly frees him by killing him.

But what about the other ones? The other Timelines? What happens there?

Do we account FSA from the end of the child timeline into this, that Four somehow conquers that quest despite, well, that being who knows how far in the future? Or do we assume Four here is also still simply cursed like in ALTTPs dungeon and still trapped with no one to free him if FSA isnt counted into this specifically. (Wouldnt it make more sense to put FSA after FS…???)

And in the Adult Timeline, I guess he’d also just get flooded and buried by the sea huh…would that kill him, I wonder if he’s already far gone from being human?

I think about it a lot. I mean, if it happens before the Timeline Split, during when Four is alive if we go with the theory the boss is— or was Four, then a version of this terrible fate must play out in every timeline. It can’t just be the Downfall one. Riiight? Right? Or am I thinking too hard. Well.

[sapphic-luthor]

i’m going to hold your hands when i say this and i am only going to be kind about it once: ai does not belong in fandom spaces, ever. not in writing, not in art, not in video, not at all. it does not matter how bad you want to see your favourite characters kiss, or how much you need a bit of help finishing a chapter, or whatever.

make friends with artists. commission somebody. learn to draw yourself. ask for a beta read. try a writing partnership. fandom spaces are communities, so engage with them! it is about the journey and the fact that we all love something enough to create and build together about that thing.

spending 30 seconds to kill a tree and get an AI to push out some soulless empty piece of “content” is antithetical to the entire point of being engaged with fandom, and if you’ve taken to doing this you should really reconsider if you belong in these spaces with the rest of us.

[savrenim]

......suddenly struck by the idea for a piece of worldbuilding of "fae don't like iron bc it is the most stable element*"

*as in elements higher you can extract energy via fission and lower you can extract energy via fusion but iron itself there is no excess binding energy to extract at all

[soupdrinkinglincoln]

Very interesting advancement note that I’m obviously not the first to comment on but

The wording is ‘rescue’ a Ghast from the Nether, and bring it ‘safely home’. Which has always been the idea of, are Ghasts from the Nether? Was the Nether always like this; and are they so miserable because they were forced to adapt to a ruined fiery hellscape? Well, now we know that presumably when young especially, they’re liable to dry out. That if they’re rescued from being dried, they thrive in a more earthly environment. That they grow up happy when doing so. I do think that Ghasts may be from the Nether, but not from the current Nether. A much colder one, maybe more like the Overworld, maybe not. Probably a cavernous fungal paradise if I had to guess. But now they live in a world that’s been ruined by something, and turned into the human embodiment of hell, forced to spit fire just to no longer be filled with it when they’d much rather eat snow to cool down. Is it any wonder they cry?

[wormachinery]

Sonic feels like the type of guy to make up an insane story about how he got his top surgery scars

[helly-ena]

ether as severance + “the courtship of kier and imogene” (relationship parallels)

(just so we’re clear, while the kier-imogene dynamic is clearly paralleled with helena and mark, it is also reiterated in cobel and mark, dr mauer and gemma, and even burt and irving to some extent; season 2 has also made it a point to show us that helena and cobel are both victims in their own ways while being perpetrators. it is not a black and white situation and misogyny will get you blocked.)

original threads: (x), (x)

[freefallintothevoid]

Dick Grayson's unmatched success as a child vigilante makes a lot more sense when you remember the Court of Owls was a thing and that Dick was meant to be the next Grey Son.

There is no way that someone at Haly's Circus wasn't there keeping an eye on him while he grew up. A future weapon needs to be trained and monitored after all, and a circus, a place where weird skills are completely normal, is actually a great place to secretly train a child.

You know, just some knife tricks that translated really well into actual fighting. How to get out of restraints and pick locks while under a time limit. Death defying acrobatic stunts that coincidentally do wonders for parkouring. That sort of thing. Nothing that seems out of place for a boy growing up around circus performers to learn, but would literally any where else.

I mean, while I fully believe that most kids would want to kill the man responsible for their parents deaths, Dick was weirdly prepared to go through it. He tracked down Zucco with way more ease than any normal child should have too. He became the first child vigilante, for goodness sake. The first Robin! He only started getting formal training after he basically forced Bruce into it!

Bruce himself has no idea that this kind of competency in a child is unusual, considering he was much too blinded by the similarities between his and Dick's tragic orphanhoods.

Alfred is in a similar boat because he’s desensitized to weird children after he somehow managed to successfully raise Bruce 'The Batman' Wayne, so he doesn't clock the hyper-competency as abnormal either.

By the time the other batkids start popping up (Jason 'The Audacity' Todd, borderline-street rat with no fear) (Tim 'the greatest stalker in Gotham history' Drake, child genius, also bullied his way into becoming Robin) (Barbara 'raised by the only uncorrupt cop in gotham' Gordon) (Stephanie 'daddy issues and spite' Brown) (Duke 'Pretends he's the normal one and people believe him' Thomas) it's too late.

It would also explain how Dick got along so well with Damian out of all of them. Similar childhood with different approaches and all that. On some subconscious level, Dick recognises and resonates with the murderous ten year old assassin with strong familial ties to a secret elite assassin organization.

It isn't until after the whole Court of Owls and Grey Son reveal that suddenly Dick realises a whole lot of things about his childhood that suddenly make a lot more sense.

[beetledrink]

why does this shit have me crying laughing

[mofsblog]

"This is some gay shit" Good. Silly. Fair enough. Doesn't inherently invalidate other interpretations of the relationship. Honestly yeah, it is kind of gay regardless of their canonical relationship status

"There's literally no platonic explanation for th-" WRONG!! KILLING YOU WITH AMATANORMATIVITY KILLING LOBSTERS 🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞

[greghatecrimes]

Absolutely insane that she said this while doing Chase on the reg

[yuriartillery]

im applying a new problem-solving philosophy that i learned from the way of the sword. i basically cut down anyone who stands in my way like animals lead to the slaughter and its really improved my workflow. im running into way fewer problems that cannot be solved by applying swordlogic

[starcurtain]

Comparing Aventurine's "Keeping Up With Star Rail" to Mydei's is so funny because

Ratio: 🥺👉👈 D-Does he like me?

Meanwhile...

Phainon: I would like to confirm, for the public record, that Mydei and I fuck.

[heartkade]

[kneelbeforeclefairy]

What I think is most different and most striking about Sunrise on the Reaping is how CYNICAL it is. To some extent we knew it was going to be. This is a midquel. That the reapings go on and the Hunger Games only ends 25 years later is a forgeon conclusion. We know nothing that happens here is going to work.

The book is about implicit submission, and why, with numbers on their side, the many submit to the few, even when the few are unjust. And it's because, the book seems to say, numbers aren't ENOUGH. the Newcomers alliance is much bigger than the Careers. They should be able to team up and defeat them easily. But they don't. Eighteen of them are killed outright, because the Careers have the strength, the skill and the training. And that's just that.

Plutarch asks why the tributes don't overwhelm the Peacekeepers during training, and Haymitch is rightfully outraged at the privilege of this question. Why don't they? Because they probably couldn't kill them all, and even if they could, what good would it do? It wouldn't stop the Hunger Games. It wouldn't change a thing. No one would even know about it outside that room, because the Capitol would change the narrative. Just like Katniss and the Star Squad can't REALLY take on the Capitol single handed and assassinate the president, the scrappy alliance of kids can't really do any real damage to the system the Capitol has in place. All they can do is choose if they want to die now or later. So why don't they, if there's no difference to them, as Plutarch asks. Because, as Snow puts it. Hope. The slight chance that one of them will come out of it. And, more cynically, the hope that if they are good tributes and obey, their families will be left alone. If they choose to rebel and choose to die now they guarantee retaliation against their families and perhaps their entire district. We see that even in the tributes that attack the Gamemakers in the arena. They rise up, they break that bond of implicit submission--and they die bloody for it.

Why don't they rebel? Because they don't have the privilege to lose.

Even Lenore Dove, the Joan of Arc of Twelve, fails to do any real damage or have any real effect. All she does is get herself a reputation for being a trouble maker, and eventually get herself killed. Was she killed as part of the retaliation against Haymitch, or was her punishment because she's a rebel, and that's what happens to rebels? (and Snow hates covey girls.) but she fails because she IS alone. She focuses on small, symbolic acts that do nothing, but that she hopes will rally the people to action.Unfortunately, the people of Twelve don't want their lives to get any worse, and they don't have the privilege of spending time and energy on revolution the way a teenager girl whose family doesn't need her income to survive does--sadly, Twelve will remain this way, in an uncanny valley where they're beaten down enough to need change, but not enough to have NOTHING to lose. They are not one of the districts that rise up. So acting alone does nothing, teaming up does nothing. How does one fight an enemy with better technology, better weapons, and better organization? Beetee's plan doesn't work out. Of course it doesn't. Could it ever? Was it just borne out of grief for his son? And even if it had, then what? What was the plan? Haymitch's poster gets edited away. The Newcomers fail. Lenore Dove dies. The most you can say is Haymitch himself becomes too important to kill, like Beetee, and Snow let him live to fight another day, but so destroyed that he no longer WANTS to.

So, then, what WORKS?

The answer is, quite cynically, Plutarch's version of the world. Numbers mean something, there are more of US than there are of THEM , but that isn't enough. You need weapons, you can't bring a knife to a gun fight, you need EVERYONE on your side. You need organization, not just a series of disconnected rebellions, and you need an Army, provided by Thirteen, as problematic as they are. The timing just needs to be right. And most crucially, what I think Plutarch and everyone involved here learned is that victory belongs to those who control the narrative. Those who control the flow of information and tell their story. And it's not Plutarch, for all his cameras and his propos and his idea behind The Mockingjay, who eventually does that well.

It's Haymitch.

Who learned to tell a story and sell a narrative with himself and the Newcomers. Who tried to paint his poster in the arena only to see it rewritten in front of him. Who won't make that mistake again. When it's time for the deciding factor in the revolution, it's Haymitch who creates the Mockingjay-- and is he also using Katniss and her image? Yes. but he at least sees Katniss and the human she is inside it, unlike Plutarch who hasn't changed much from the man who makes a grieving family do reshoots over and over so he can get his footage, while congratulating himself for letting Haymitch have his goodbye.

When Katniss sets off the spark twenty five years later, the world is ready. The work is in place. Plutarch, Haymitch, Beetee, everyone can say GO , and this time it'll work. So buckle in, and wait for the Long Game, even though only Plutarch really has the privilege to wait, the rest of them don't have a choice. It's cynical. It's awful. People die. The lone rebels and the plucky girls and the alliance depending on its numbers all fail. Plutarch motherfucking Heavensbee, the richest of the rich the privilegedest of the privileged, pulls off the revolution, takes the credit, and lives to see the end of it, without ever once examining his own privilege, and unpacking the fact that despite his head being on the right side of history, he's never managed to see the Districts as PEOPLE . (and you could argue, ANYONE as people. ) But it's just the only way.

But this book isn't the middle of the series. It's the end. How awful would it be to read if we didn't know that Katniss and the Mockingjay rebellion would eventually succeed. We know that despite the cynism of a failed revolution and all its players, that one day it WILL work out. This book is called sunrise on the Reaping....the sun rises on a world where this is inevitable. But one day it won't be.

[egophiliac]

don't think I'm not still obsessing over 7-12

[internetgiraffekid1673]

I love it when my irl friends know I'm aroace because it means I can just hug them without them feeling like there are any scary obligations or implications there.

My best friend at college said it best I think:

"Sometimes I think I want a boyfriend, but then I realize. No. I really just want a hug. And then I go and find you and I get a hug and then I don't want a boyfriend anymore."

Like. Bro. Sometimes my friends just need a hug without having to worry about anything else. And I'm so glad that I'm capable of giving it to them.

Anyway, shoutout to all my online friends that I can't hug, I'm giving you a virtual one!