#complicated love stories

[poorly-drawn-mdzs]

License to Kitty.

[shorthaltsjester]

watching the sdcc panel and i am just very :) about how sweet their answers to “what are some of the micro moments from the game that have stuck with you the most over the years?” are. taliesin saying what the fuck is up with that which was the first like The Party Gets To Know Each Other moments of c3. travis saying asking his wife if he could kiss her in campaign. marisha going way back to the cannonball competition in campaign one. ashley choosing the beauyasha date but also just the silly goat noise matt made. liam adding onto that to compliment matt roleplaying grass so well and then saying his favourite moment was writing a story for laura and reading it to her as caleb for jester. and then matt saying that was his answer, and that his favourite moments of the game are when they find ways to give gifts to each other whether tangible or not. and sam saying his favourite moments have less to do with the story and is more so when he can just. see his friends across the table from him. when marisha perches and when laura and ashley are (badly) drawing dicks and liam saying he loves when sam sneezes and ashley tells him to stop it and just. yeah. they Are an extremely popular online powerhouse, but i’m so happy that they’re also friends building a world together out of gifts to and love for one another.

like i Am so enamoured with the characters and the world of exandria but the moments when you can feel the love that those people have for each other reach out from behind the stained glass of their performances (to steal a metaphor from brennan lee mulligan) are so extremely special and i am endlessly grateful that they decided to share their silly little home game with the world.

[westywallowing]

he's,,, a cat

adrientte fruits basket au ;)

[rufwooff]

ok, I think I can post this

(just wanted to imagine what the colors would look like, so come up with the context yourself)

've been doing things very productively lately

Raph doesn't have the right size pants, so he just wraps a piece of fabric around himself 🔥🔥🔥

[devine-fem]

Understand that I am crazy and then read: This game changed what I thought games could be. This changed what I thought Batman could be, what the Batman and Jokers relationship could be. The take on them and making Joker a glorified Robin, showing the player the absolute tragedy that is their relationship, showing me how desperate and gross either side can become. Like Bruce has to prove to himself that what he’s doing, his code and his way is right and the Joker is the product of that… he’s the product of all of this - HIS CHARACTER is THAT. I was never the same after this, this rewired my brain. This will forever rival any Batman depiction I ever see. I’m new after this in the way that I have to mourn the person I once was before playing this. Call it a ship, a game, or a superhero story - I call this art. I’m gonna sit here for the next few months being upset at the fact that now that I’ve played this I’ll never find anything else like it.

[redrobin-detective]

Something I wonder about Simon and Betty's relationship is how long they were together before the whole crown ordeal. But they were engaged, you say. My aunt (in)famously met my uncle and had a ring on her finger in 8 weeks. We've seen that both Betty and Simon were both weird outcasts, crazy determined and a pinch insane. I would not be surprised if they decided they'd met their one true love and got engaged super quick.

My point being, Betty's shifting to revolve around Simon and Simon's rose colored glasses of their relationship feels very much like New Love. They're people who love each other and love being a couple but still haven't quite figured out how to coexist together, as two people in a partnership. I feel like if they'd known each other longer, lived together longer, some of the issues we're seeing would have probably self resolved.

I don't think their relationship is toxic nor is it totally perfect. It's two lonely, most likely neurodivergent people in a relatively early relationship still figuring out how it works. Everything that happened afterwards: the crown, the seperation, the time travel, the magic/madness/sadness just exemplified issues they had both as individuals and as a couple.

[yvtro]

jason doesn't need a confirmation that he was loved. he knows that he was loved. what he wants is to know if he is loved now. still.

[sweetbrier2908]

have you guys ever thought about how satan's personality is actually the combo of his 6 other brothers and somehow he's still unique in his own way and that somehow creates his charisma. just as i start making satan's moodboard and i start to realize man i love him so much it's hard to breathe.

i mean, he's like the most hard-working demon in the family, lucifer works because he has his responsibility and because he forces himself the perfect figure for the whole devildom and also because of diavolo the moment he realize no one watching him he immediately drop the whole responsible act; but satan works and studies and reads just because he loves doing things and learning. he never wastes a single opportunity to learn new thing. he loves art and beautiful things, just like asmo but at the same time, he doesn't care about his look, just like beel, and they both make asmo so mad because they seems like they can't realize how attractive they are. he loves to play pranks on lucifer with belphie but somehow he is also willing to take care for his brothers when they're wasted and constantly checked on lucifer when he lost his memory. he loves cooking for his family and even when his brothers make riddiculous request he still tries to satisfy them. he's maybe the most boring guy you've ever met, he's a nerd, he starts to talk like levi when he visits destinations from his favourite shows, he looks serious in his stundent id, and he's so intellectual and normal and you may or may not have already seen someone like him in your life. he's so normal, he has nothing stand out but his love for cat. his laptop is covered in cat stickers and he has a cat wallpaper on his devices. he's so normal. he acts normal unless when he's angry. he's decent. he's also popular. but at the same time, don't you guys find him adventurous? he loves trying new things, he meets people here and there and makes friend here and there. you will see him at some super fancy restaurant and you also see him on the bleachers of some sports game. he even manages to take his whole family to a film festival because of his connections. he learns new things everyday and he tries to experience as much as he can. he loves nature, he loves camping, he loves animal to the point he flooded the whole house with cats. he knows all the things about human world and stuffs but he's not allow to go there. i mean, satan character is just the combination of many factors and he's so normal but so adventurous and caring and i can picture him having a super peacful life until you figure out he used to go to war and maybe fighted with the dragons and owns a rich comany stuff like that.

he's just doing whatever he likes without caring about people's opinion and make him...like gosh...i love him i love him i love him i love him i love him.

p.s: one of my theory is that satan wasn't born from wrath (yes i know the devs confirmed that but wasn't lucifer so angry to the point he started a war and stripped out his wings because he loves his brothers and sisters so much he didn't want to see them hurt?) but actually he was born from the love lucifer has for his family so that's why you can see satan shares similarities with all of his brothers.

[yasmeensh]

Zelda 2 comic sneak peek

I took out my old full-length Zelda 2 comic draft and chose a segment to make a short comic out of. It's missing context from the whole grand narrative of the entire story, but I think it gets the point across.

There were a couple potentials, and I ended up choosing the scene where Link discovers that his blood is the key to awakening Ganon. It's the most well-known plot point of the game in the LOZ fandom in general, besides the Prince of Hyrule plot. Throughout the comic, Link gets attacked by various monsters during his quest. He thought Hyrule was incredibly dangerous for merchants and travelers, but found out that it was only him encountering monsters at a high rate, thus targeted (that is not discussed in this short comic). This disturbs him a lot. And this is the scene when he discovers why he's a target. It's more than the monsters seeking revenge.

At some point in the game, the player is made to travel towards south-western Hyrule and use the Hammer on dueling peaks to enter and get a magic potion. You specifically enter the peak that is originally Level 9 in Zelda 1. I found that to be very... interesting. And suspicious. Why did the developers think "Okay lets have Link go back to the traumatizing final boss place from the first game to retrieve an item :D" It's kinda epic honestly and it gave me the idea: For the full comic, I made it that Link follows rumors and travels down there in the hopes of finding the magic book containing the revive spell, which is game-changing for the rest of his journey. Being the adventurer that he is, Link takes the risk and goes there thinking the place is long-abandoned and that Ganon probably no longer exists. Except, that isn't the case. (Okay I must add, after the revelation, Link loses his adventurous spirit and gets very serious with his quest. No longer enjoys exploring, which is all this Link is about. He starts developing Big Fears. This eventually spawns Dark Link. I wish I could make the entire comic but I know I can't T-T I should probably finish up and polish the draft and post it online for whoever is interested in a deep dive, lore-intense Zelda 2 story reimagining.)

It's the first time I do a 10 page comic, so I'm going through a learning curve right now xD It's going to be experimental, but I hope you enjoy it still. Here are some WIP shots. Still a while before it's completed.

[pepperpixel]

+ Butch 4 Butch +

(Except neither one of them is rlly that butch but holy fUCKING SHIT THAT SONG IS LITERALLY THEM… the version of them I made up in my mind palace… it’s them.)

Anywayyyy. Yeah! Have a tagr art dump..! aka, those vibes when you, out of a series of moments of temporary insanity, end up finding, taking in, nursing back to health and eventually falling into a tangled messy yearning situationship w the asshole tsundere alien who tried to destroy your entire planet… rlly extremely relatable vibes!!

[blackmosscupcakes]

I'm fascinated by how this arc of The Wizard the Witch and the Wild One has really flipped the narrative on who's in the right and wrong compared to the first arc, because the key thing is NONE OF THEM are acting differently than they did then--they're all acting incredibly true to character traits that were established from the get go--the only thing that's changed is the surroundings and the context of the backdrop around them.

Out in the world, among ordinary people, Suvi often came across as imperial-minded, deeply indoctrinated, and carrying a feeling of being superior to those who weren't of the citadel. Her feelings and actions were understandable, but the reaction of the audience was often to read her as being overly hostile to the other two and determined to cleave to the Citadel and the beliefs of her upbringing to a degree that was detrimental to their task.

Ame and Eursulon showed a willingness to go off half-cocked and act impulsively based on their feelings in the first arc just as they did in this latest episode, but in the context of the wider world this often came across as deep empathy with ordinary people and spirits and a sense of responsibility to deeper matters beyond the politics of humans. Sure, their actions were a bit reckless and had some negative consequences, but they were acting with their hearts and for the right reasons and everyone was down for Quest Fever!

And then last night we see exactly the same dynamic play out once again--Suvi trying to balance the needs of her adoptive mother and her home and the entire institution in which she grew up against the needs of her friends, while her friends run off and literally blow up the Citadel's shit in absolute defiance of everything Suvi was raised to believe. Now, standing there alone and reeling from a curse as her friends tear off leaving destruction in their wake, she seems understandably hurt, as well as obedient, measured, restrained, sensible, if perhaps a little too blindly trusting in Citadel processes*. And likewise, amidst the context of seeing how the Citadel runs and how generally well it's treated Ame and Eursulon, the two of them seemed reckless, ungrateful, disrespectful, and short-sighted with an unwillingness to play along with the realpolitik of going through the proper channels. Instead they (quite literally) burned important bridges and damaged Suvi's life in the process (though it's also understandable that in light of the revelations about Eursulon's sister they rightly felt unsafe even if Steel was understanding).

It's fascinating how incredibly similar the climactic sequences from these two arcs have been. The characters have followed their natures and it's led them down exactly the same path twice in a row. But the context surrounding their actions is VERY different this time, and each mirrors and recontextualizes the OTHER occurrence. People were largely on Ame and Eursulon's side last time, and they're largely seeing Suvi's side this time. It's been a really complex ethical and practical tangle to navigate both times (and good on Brennan for setting it up that way), but I feel like seeing the two together helps us understand and respond to ALL of the characters in a better way than just having one of these situations would have. It's been really cool to watch, and I've been absolutely loving reading all the thoughts and opinions from people on every side of it. It's already been some of the best fandom discussion I've seen about a TTRPG show.

*I read an interesting perspective from someone who believed they would have had to escape even if they'd trusted Steel, as she already went from "meet me at this time" to "give me more time to talk to the diviners" and they thought she would have continued to delay and delay in order to check all of the Citadel's bureaucratic boxes--I'm not sure whether that's what would have happened but it's an interesting possibility, and one that prevents Steel being used as basically a deus ex machina powerful ally any time they're in trouble.

[girluimfailing]

Continuing my post abt Damian going back in time and meeting Talia but it's YOUNG ADULT Talia who rants about how Bruce is the love of her life and how he'll help her escape from her father's clutches and finally help her live a normal life away from being her father's weapon FULLY KNOWING HIS PARENT AREN'T TOGETHER BECAUSE THEY BROKE UP AFTER HE WAS BORN AND SHE COULD NEVER FULLY ACHIEVE LEAVING RA'S AL GHUL AND THE LEAGUE OF ASSASSINS AND NEVER BECAME A DOCTOR BECAUSE OF HIMMMMMMM

[digitalafterlife]

i have a maybe lukewarm maybe hot take about this godforsaken show that some people could find mean, but i stand behind it, no elaboration (okay, some elaboration in the tags below… a lot of elaboration)

opinion: if you claim to like clara’s dynamic with the doctor and her character development in series 8 and 9, but simultaneously say you hate the impossible girl arc/elevenclara, you don’t actually understand anything about their relationship and what makes it the way that it is

[the-kingshound]

Putting the current angst aside for a second, I find it telling how the two major critiques to the game are that the characters are too nice to MC and that the ROs are too feminine (because they are nice. Because men aren't nice and don't say "dear" or "darling")

... I don't know

[roxannepolice]

My take on "where was the Doctor in 73 yards, or at least how to interpret the TARDIS staying in place while he was in Barbieland".

The scene where Ruby tries to open the TARDIS door is very much mirrored by Carla changing the locks, implying the same thing happened here (no it's not diagetically related, it's audio-visual semiotics. when two scenes mirror each other one probably expands on the other). And I think we are meant to assume the Doctor IS inside, just as Carla was in her home.

Which is kind of like when the TARDIS ran away from Jack, because oh yes Jack is 100% Ruby's mom

No but srsly the TARDIS didn't ran away from Jack, she ran away from what Jack was - a paradox, just as the Doctor's gut reaction to him had nothing to do with him as a person only "Time Lord instincts". She never had a problem with Ruby before, meaning the problem is not Ruby as a person only

Ruby as part of a paradox. Again, this episode is very much grandfather paradox, with a neat little gender shift into a grandmother paradox. Ruby goes back in time to prevent the events that put her in a situation where she goes back in time to prevent those events - the Woman/old Ruby only appears AFTER the Doctor steps on the circle in the beginning of the episode, implying this is where the events kicked in motion.

Except the Doctor talks of Roger ap Gwilliam BEFORE the charm fun starts, implying HE'S NOT ACTUALLY A PART OF WHAT HAPPENED THERE.

The Doctor disappears NOT when the circle is broken only when Ruby reads of Mad Jack, because THIS is the beginning of the paradox, because RaG is NOT a part of it, but Ruby's idea that he is - IS. Sth sth seeing patterns in chaos.

I'm flying off into higher regions of existence, so I'll just conclude that the TARDIS couldn't run away like she did from Jack, because she was bound in spot by the paradox - she had to be there as a reminder to unfuck it.

[sarucane]

Stede Bonnet's Stories (S1)

My favorite theme (right now) in OFMD is storytelling, and how the characters' stories shape the narrative and one another. In OFMD, stories are how people connect to one another. How they figure out their place in the world around them, how they form communities, how they grow and change. Because stories are also how the characters come to understand themselves.

In the first season, Stede is the loudest and most determined storyteller of them all. He's literally paying someone to follow him around and write his story; he's built the entire ship and outfitted it to create a certain story; he's wearing mad, impractical clothes in a harsh climate to express his personality.

On the one hand, this is a dumb thing to do. The crew can't read the library he's provided for them; his clothes (and incompetence) make his first "raid" a disaster; the pirates are plotting mutiny very quickly indeed. And his attempts to "toughen up" wind up nearly burying the crew in a larger, imperial story of race and class.

On the other hand, it's an immensely brave thing to do. Stede doesn't really try to be "like Blackbeard." He doesn't disguise his accent, wear ugly clothes, or make an example of someone on the crew to show his "iron fist." He is trying to do something genuinely different. To be a gentleman and a pirate. To tell a story that hasn't been told before. And to create space for others to tell a story: when Wee John voices criticism, Stede hands over his own fabrics to the crew and encourages them to "express yourselves." Between the bedtime stories and Stede's lie about Nigel (which is revealed very quickly afterwards), the crew decide they'll try telling his "new" story with him.

At first, the weakness in Stede's story seems to be that he's telling it in the wrong place. That his fiction is too far from reality, which is going to crush his story (as so many stories have been crushed throughout history).

And that is a problem, and his misjudgments wind up with him being betrayed by pirates and almost executed by Spanish naval officers. But it's a solvable problem, with help.

From the moment they meet, Ed and Stede are at their best when they tell stories together. When they work together, they figure stuff out about themselves, they connect with one another and with the crew, and they find a way to write the third story in a world that tells them they have only two options (gentleman or pirate). They make ship into a lighthouse; they bring a kraken to life and finally beginning to understand it; Stede uses his ship's mast and Ed's trick to outwit Izzy; a treasure map yields actual 'treasure'; the ship is invaded by the English, but everyone emerges safe and alive.

But it doesn't last. Because the real weakness of Stede's storytelling isn't the context. It's that Stede doesn't believe it himself.

Stede is doing all this to try to be both a boy worthy of respect from his father, and a boy who picks flowers. He's still defining himself by the terms of the world he came from. By running away, not running towards something.

So, when Chauncey confronts him with his own "monstrousness," Stede believes him. It's all his insecurities come to life. And he believes Chauncey when he says Stede's "brought history's greatest pirate to ruin."

If all Stede will ever be is a "little rich boy," then he needs to stop trying to be something else. Because telling that story means hurting others.

Stede's wrong. Telling a story, even when you don't fully believe it, changes you and the people who listened to your story. And when Stede gives up on his storytelling, the causes and effects circle round: Stede told stories. As a result, other people told stories. And even if Stede stops telling stories, or tries to tell different stories, other people won't.

Stede lied when he confessed to Nigel's murder. Said he deserved to die for leaving his wife and family. But he doesn't die there, because Ed tells his own story about grace, and the crew takes Stede's mad stories as their own.

And because of what Stede did, Mary Bonnet was able to tell her own story, fully and on her own terms. And to believe in it completely. Ed and the crew were able to tell their stories, too--which comes near to an actual transformation.

In the end, it doesn't matter that Stede didn't believe his story. He changed anyway. He created space for other people to change, to tell stories that unraveled his own lies, that saved him from himself. And he awkwardly, finally, figured out what story he wanted to tell. His own truest story.

And to escape the truth he's accidentally been trapped in, Stede tells a story that inverts what he did before. At the beginning of the season, Stede was telling a story that no one believed. That only he even really tried to believe. But in the finale, he stages an elaborate fuckery to tell a story that everyone believes--except him, and the people who matter. Truth materializes from the fiction.

Stede's stories set so many people free. And in the end, when he's brave enough to lie his way to the truth, Stede's stories set him free, too.