scar having "This is your land, where you are the author of your own story" in his theme park announcement is standing out so strongly to me. you've infected me with meta brainrot
YEAH the noise i made when he was like "look at my announcement" and started fucking talking about stories was. not human. mr goodtimes thank you for feeding a poor humble fic writer's lust for narrative worship. it's appreciated.
(but Yes pls join me in the scar-and-stories meta brainrot pit. it's dark down here, but it's pretty comfy. i have marshmallows. and my leg in this bear trap that means i can never leave, but don't worry about that. ignore it. focus on the marshmallows.)
real talk, the fun thing about the scar-and-stories theme i keep banging away at is that like...
one, c!scar is canonically a conman / confidence trickster / high pressure salesman / charming asshole who always gets what he wants, which means he does legitimately constantly use weaponised stories, and it's only a tiny nudge sideways to make that an occult / spiritual / world-build-y thing.
two, i personally have a lot of fun weird semi-religious opinions about stories, and this is a very cathartic way of working out what exactly those feelings are, and also propaganda.
but three, cc!scar - perhaps best out of everyone on the server, other than maybe bdubs, and maybe joe but i think tbh joe is just Being Weird rather than doing this on purpose - understands how storytelling works.
we see this constantly. like, yes, mcc has improved his combat skills, but it's very very obvious that he plays up being an imcompetent klutz. other than when the narrative allows him to do otherwise. which is why, now, at the moment, he's suddenly very good with a bow - yes, because he's gotten good with it bc mcc, but mostly because it's funny and serves the story that ren has initiated. and, out of all the hermits, he's perhaps the most responsive to changing what or who he is in response to the demands of the story, without it ever feeling ooc or like it's some dramatic change. just... scar is good with a bow now because it's funny in the context of the current story for him to be good, and he'll stop being good with with (or at least stop doing pvp) when it stops being funny. and at no point will this feel incoherent, or jarring, because he is very good with this.
(and, here, i start blurring the c! vs cc! lines, because when we're talking about acting skills or style, there's an inherent ambiguity there. is c!scar or cc!scar a good actor and storyteller? yes.)
crucially, though, this shape-shifting, story-shaping skill scar has - where he adapts seamlessly to and merges into the story being told, even if he's not the one that started telling it - means that he can ensnare other people in stories too. we all know it from third life, with the whole "give me your armour and i'll give you friendship points" where he dangles a yes and opportunity in front of the other ccs that is too fun for them to pass up and so manages to snag decent armour (despite grian behind him the whole time yelling that they shouldn't listen and it's a bad deal). but he's doing it with ren and bdubs this season, too, just... never saying no, but trapping them within the conceits of the story they themselves are telling to get what he wants (i.e. not having to give up his shop). and it's very well done. he's very good at this! very, very good. and it's done deliberately enough he clearly knows what he's doing, he knows he's playing people-
and then we tangle back into c!scar as a conman, and a confidence trickster, and a charming asshole who always gets what he wants. and how some of that, part of that, a large part of that, is because cc!scar (and, by extension, c!scar) is very good with stories.
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splatoon fans are like “you GOTTA listen to ‘freshwater freekin it’ that one is straight fire” and link you to a song composed of synthesized cat meows, first graders playing recorders, and vine booms. and then by the end you’re absolutely furious because they’re right
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God the current TV landscape has completely destroyed audiences ability to wait for developments and to accept suspense.
"Why hasn't this couple gotten together yet??" -> it's a slow burn, it takes time
"Why is nothing resolved by the end of the season??" -> sometimes, things have to get worse before they can get better, it takes time.
The best stories take their time because instant satisfaction is not good for storytelling. Rushing things is how you end up with the finale of game of thrones, and no one wants to end up like the finale of game of thrones
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Running theory given that we now have proper readings of cases from all of them:
Norris - Personal Connections, the stories with an underlying sense of romance, of regret and most notably of poetry.
Chester - Warnings, telling you to stay away, not to look, not to observe, but curious all the while. A statement of Stop, I can’t make you but Stop before you can’t go back.
Augustus - Historical accounts, Give and take, hunger and legacy, of answering unasked questions, of selfish ambition.
And that’s the vibe I’m getting :D
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