#goes well with part of this question

[ilynpilled]

actually that was great 😭 and i pretty much agree. also i think on some level maybe jaime resents them never asking? like in their eyes (and tywin’s) he killed aerys to protect his father and align himself with the lannisters as they enter KG and they don’t care for any other reason he could have. but its the opposite. he warns aerys not to let his father in. also then out of all people why does he choose to tell brienne… i mean i have some ideas but what are your thoughts?

The thing is we do not really know if they asked lmao. I mean I will assume Tywin didn’t give a fuck. Not for the right reasons, anyway. That’s Tywin. I am not certain of that assumption regarding Cersei and Tyrion. Anyway, I think what distinguishes them from Brienne, is how distinctly they view Jaime as a result of the fact that they are Lannisters, as well as what their respective struggles are as individuals. They have a history. They have an established relationship with him. It is a relationship with insane baggage. With that baggage comes a lot of blindspots. They knew him before Aerys, but they did not truly know him after. As much as they love Jaime, as he is the glue of the family, they also loathe him in some form for meeting the standards that their horrid abusive father set. He is the only one of them that was gifted with the potential to gain Tywin’s approval (not that such a thing is possible lmao). The other two do not even have the chance. Jaime then took up a role in life that was never really an option for either of those two. Knighthood is reserved for Jaime, both meta textually, as that is what his story is mainly deconstructing, and within the text itself, as that is what he dreamed of being as the young boy prodigy. This experience completely changed Jaime and his outlook on the world. It sent him down the path of amorality, nihilism, and cynicism, specifically regarding the feudalistic constructs of morality, knighthood, and honor. This is something that Cersei and Tyrion can never truly grasp, just as Jaime will never understand their respective struggles. These blindspots the three siblings have concerning each other are always very apparent in their POVs. I talked about JC and how they put each other into boxes, but Tyrion and Jaime also do this with each other. Despite their bond, we never gain that much insight into Jaime from Tyrion’s POV in the first two books. Like even he reduces post Aerys Jaime to “my impulsive and flippant big brother who loves murder”, (however he gives us glimpses of the fact that Jaime loved him, unlike the rest of them). The person that Jaime presents to Brienne is a person that nobody has seen. That is how the narrative is set up. Brienne is the one that is interlinked with the deconstruction of knighthood. She is such a necessary foil to him in the beginning. I said this before: Brienne and Jaime’s dynamic in ASOS is “the goodhearted and naive idealist vs the jaded, cynical, and callous asshole who is a disappointed idealist that recognizes their old self in the former, making it a battle of who succeeds in pulling the other closer to their side of the spectrum.” The conclusion to this question of knighthood is something they have to come to together. I kinda elaborate more on this here:

So he lays this side of himself bare to the reader and Brienne only, bc that is how his development is meant to happen. This is a side that only us and Brienne are meant to see, because it is who it is most relevant to.

[ryllen]

just a boy with his house elf

[rustedhills]

Disney, releasing Wish: "so it's all about legacy--the new generation surpassing the old, overcoming the evils perpetuated by them, relinquishing singular power... and there's an old man in a tower, uh... animal sidekick, i guess..., ah... magic...?

Miyazaki, just out of frame, sledgehammer raised:

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[chiropteracupola]

Boldly onward, never changing course.

[william bush, requested by @sanguinarysanguinity and @quatregats]

[crocodilenjoyer]

here’s the thing. about zolu. puts myhand on your shoulder Here’s the thing. luffy? aromantic. zero interest in romance. zoro? gay. very low interest in romance. has two braincells and they’re both devoted to thinking about swords. they are not dating. it is not romantic. it’s not sexual either because luffy, much like his views on romance, could not give less of a shit about sex. maybe if they both feel up to it at the same time, but that’s rare and when it does happen it’s more of a physicality and, to a lesser extent, affection thing than anything else. occasionally it’s a “hey wouldn’t it be weird/funny/fucked up if we [insert some david cronenberg-type shit]” thing and the other one goes “haha yeah do you wanna try.” but i digress.

however. HOWEVER. they Have A Thing. what that Thing entails is a mystery. luffy is both incredibly straightforward and frustratingly cryptic whenever he’s asked about it and zoro just kinda shrugs. they’re just luffyandzoro and zoroandluffy. the king and his lionheart. drift compatible. partners. captain and first mate. the sailor and the north star. sun and moon. they simply Are. what does that entail? well brother. they hang out

[genericpuff]

Not sure how much good this'll properly do, but turns out Stephanie K. Smith (the LO showrunner) did a Q&A with Girl Wonder Podcast in January. Curious what your thoughts on it given everything that's happened with the comic's conclusion :p

I honestly don't remember if I did touch on that here, but I do remember listening to it when it was first up on Girl Wonder's Patreon and man... they really have no new information to give, the whole thing was just a lot of chit-chat about personal experiences and, of course, more promises that the show is "definitely happening" despite having absolutely nothing to show for it.

Apparently (?) the Q&A that's happening tonight in the official LO Discord will come with new information about the show, but I'm really not holding my breath at this point. Again, at best, even if we're all wrong and assuming the worst that the show isn't happening, they're doing an AWFUL job at keeping people hyped for it. Like you're telling me that Rachel and the TV production team have had ALL these opportunities to talk about the show and give us new information - at NYCC, SDCC, the interview between the showrunner and Girl Wonder, the interview clips that have been released over the last week on IG, etc. - and haven't taken advantage of those opportunities... but a heavily-moderated Discord Q&A is gonna finally drop the details that people have been waiting for for five years?

I mean shit, speaking of assuming the worst, who wants to bet she's doing it in a Discord Q&A because she knows she either has bad news or she's NOT ALLOWED TO TALK ABOUT WHAT SHE'S GONNA SAY so she's doing it in the Discord to keep it more on the "down low"? Assuming she even talks about the show at all? People are definitely gonna be asking about it, even her own fans are losing hope in it at this point and that's not good.

That's my bad faith assumption. My good faith assumption is just that they're doing a really awful job at hyping people up. I don't understand why Rachel keeps saying she's "not allowed to say anything", that makes no sense from a PR standpoint. Even Marvel used the PR strat of using actors like Tom Holland to "accidentally" reveal hints and 'spoilers' for their upcoming films because it gets people talking. "I'm not allowed to say anything" this late in the game, to me, just reads as "We have nothing to show for the last 5 years but we don't want people to panic / leave."

But who knows, maybe the Discord Q&A will turn out to be some kind of actual productive reveal of the show? Again, not holding my breath, but at this point it would be a real game changer to have the show get revealed for real that would even make me shut the fuck up LOL

[rawliverandgoronspice]

Hello!! I'm back for: more whining about TotK Quest Design Philosophy

I can't reblog a really great post I just saw for some reason (tumblrrrr *shakes my fist*), but hmmmm yeah not only do I completely agree, but I think I might expand on why I feel so much annoyance towards TotK's quest design philosophy at some point, because it does extend past the fundamentally broken setup of trying to punch a pseudo-mystery game on top of BotW's bones, where the core objective was always explicit and centered and stapled the entire world together; or the convoluted and inefficient way it tells its story through the Tears, the somehow single linear exploration-driven quest in the entire game.

Basically: I'm talking about the pointless back-and-forths. There were a lot of them, a lot that acted against the open world philosophy, and almost none of them ever recontextualized the environment through neither gameplay abilities nor worldbuilding nor character work.

I'll take two examples: the initial run to Hyrule Castle (before you get your paraglider), and then the billion back-and-forths in the Zora questline.

I think?? the goal of that initial quest to Hyrule Castle is to familiarize you with the landmark, introduce the notion that weapons rot, tell you about the gloom pits, and also tell you that Zelda sightings are a thing? But to force any of these ideas on you before giving you a paraglider is, in my opinion, pretty unnecessary. I think the reason it happens in that order is to prevent Link from simply pummeling down to the gloom pit under Hyrule Castle and fight Ganondorf immediately while still introducing ideas surrounding the location; but genuinely, the Zelda sighting makes the next events even more confusing? Why wouldn't you focus all your priorities in reaching the castle if you just saw her there? Why lose time investigating anything else? Genuinely: what is stopping you from getting your paraglider and immediately getting yourself back there, plunging into the depths to try and get to the literal bottom of this? (beyond player literacy assuming this is where the final boss would be, and so not to immediately spoil yourself --which, in an open world game, you should never be able to spoil yourself by engaging with the mechanics normally, and if you can that's a genuine failure of design)

I think, personally, that you should not have been pointed to go there at all. That anything it brings to the table, you could have learned more organically by investigating yourself, or by exploring in that direction on your own accord --or, maybe you think Zelda is up there in the castle, and then the region objectives become explicitely about helping you reaching that castle (maybe by building up troops to help you in a big assault, or through the Sages granting you abilities to move past level-design oriented hurdles in your way, etc). Either way: no need to actually make you walk the distance and back, because the tediousness doesn't teach you anything you haven't already learned about traversal in the (extremely long, btw, needlessly so I would say) tutorial area.

But to take another example, I'll nitpick at a very specific moment in the Zora Questline, that is honestly full of these back-and-forth paddings that recontextualize absolutely nothing and teach you nothing you didn't already know. The most egregious example, in my opinion, is the moment where you are trying to find the king, and you have to learn by listening in to the zora children who do not let you listening in.

So okay. I think Zelda is great when it does whimsy, and children doing children things guiding you is a staple of the series, and a great one at that. But here? It does not work for me on any level. Any tension that could arise from the situation flattens because nobody seems to care enough about their king disappearing in the middle of a major ecological crisis, except for children who are conveniently dumb enough not to graps the severity of the situation, but not stressed out enough that it could be construed as a way for them to cope about it and make anything feel more serious or pressing. It feels like a completely arbitrary blocker that isn't informed by the state of the world, doesn't do anything interesting gameplay-wise with this idea, doesn't build up the mood, and genuinely feels like busywork for its own sake.

This is especially tragic when the inherent concept of "the zora king has been wounded by what most zoras would believe to be Zelda and is hiding from his own people so the two factions do not go to war over it" has such tension and interest and spark that the game absolutely refuse to explore --instead having you collect carved stones who do not tell you anything new, splatter water in a floating island, thrud through mud who feel more like an inconvenience than a threat or, hey, listen to children playing about their missing king less than a couple of years after being freed from Calamity Ganon's menace. It feels like level designers/system designers having vague technical systems that are hard-coded in the game now, and we need to put them to use even if it's not that interesting, not that fun or not that compelling. It's the sort of attitude that a lot of western RPGs get eviscerated for; but here, for some reason, it's just a case of "gameplay before story", instead of, quite simply, a case of poorly thought-out gameplay.

Not every quest in the game is like this! I think the tone worked much better in the sidequests overall, that are self-contained and disconnected from the extremely messy main storyline, and so can tell a compelling little tale from start to finish without the budget to make you waddle in a puddle of nothing for hours at a time. It's the only place where you actually get character arcs that are allowed to feel anything that isn't a variation on "very determined" or "curious about the zonai/ruins", and where you get to feel life as it tries to blossom back into a new tomorrow for Hyrule.

But if I'm this harsh about the main storyline, it really is because I find it hard to accept that we do not criticize a structure that is at times so half-assed that you can almost taste employees' burnout seeping through the cracks --the lack of thematic ambition and self-reflection and ingeniosity outside of system design and, arguably at times, level design-- simply because it's Hyrule and we're happy to be there.

There's something in the industry that is called the "wow effect", which is their way to say "cool" without saying "cool". It's basically the money shots, but for games: it's what makes you go "ohhhh" when you play. And it's great! The ascension to the top of the Ark was one of them --breathtaking, just an absolute high point of systems working together to weave an epic tale. You plummeting from the skies to the absolute depths of hell is another one; most of the dungeons rely on that factor to keep your attention; the entire Zelda is a dragon storyline is nothing but "wow effect" (and yeah, the moment where you do remove the Master Sword did give me shivers, I'll admit to this willingly) and so is Ganondorf's presence and presentation in the game --he's here to be cool, non-specifically mean, hateable in a non-threatening way and to give us a good sexy time, do not think about it too hard. What bothers me is that TotK's world has basically nothing to offer but "wow effect"; that if you bother to dig at anything it presents you for more than a second, everything crumbles into incoherence --not only in story, but in mood, in themes, in identity. This is a wonderfully fun game with absolutely nothing to say, relying on the cultural osmosis and aura of excellency surrounding Zelda to pass itself off as meatier than it really is. This is what I say when I criticize it as self-referential to a fault; half of the story makes no sense if this is your first Zelda game, and what little of that world there is tends to be deeply unconcerned and uncurious about itself.

And no, Breath of the Wild wasn't like this. Breath of the Wild was deeply curious about itself; the entire game was built off curiosity and discovery, experimentation and challenge (and I say this while fully admitting I had more fun with the loop of TotK, which I found more forgiving overall). The traversal in Tears of the Kingdom is centered around: how do I skip those large expanses of land in the most efficient and fun way possible. How do I automate these fights. How do I find resources to automate both traversal and fights better. It's a game that asks questions (who are the zonais, who is Rauru and what is his deal, what is the Imprisoning War about, where is Zelda), and then kind of doesn't really care about the answers (yeah the zonais are like... guys, they did a cool kingdom, Rauru used to run it, the Imprisoning War is literally whatever all you have to care about is who to feel sad for and who to kill about it and you don't get a choice and certainly cannot feel any ambiguous feelings about any of that, and Zelda is a dragon but we will never expand on how it felt for her to make such a drastic and violent choice and also nobody cares that's a plot point you could *remove* from the game without changing the golden path at all).

I'm so aggravated by the argument "in Zelda, it's gameplay before story" because gameplay is story. That's the literal point of my work as a narrative designer: trying to breach the impossibly large gap between what the game designers want to do, and what the writers are thinking the game will be about (it's never the same game). And in TotK, the game systems are all about automation and fusion. It's about practicality and efficiency. It's also about disconnecting stuff from their original purpose as you optimize yourself out of danger, fear, or curiosity --except for the way you can become even more efficient. And sure, BotW was about this too; but you were rewarded because you had explored the world in the first place, experimented enough, put yourself in danger, went to find out the story of who you used to be and why you should care about Hyrule. I'm not here to argue BotW was a well-written game; I think it was pretty tropey at large to be honest, safe for a couple of moments of brilliance, but it had a coherent design vision that rewarded your curiosity while never getting in the way of the clarity of your objective. There is a convolutedness to TotK that, to me, reveals some extremely deep-seated issues with the direction the series is heading towards; one that, at its core, cares more about looking the part of a Zelda game than having any deeper conversation about what a Zelda game should be.

[moeblob]

Amazing, take some of the side character demons from Evil Bound.

Vincie is a menace to Chuck and Chuck alone so in Hell, Chuck hexes his hand behind his back so that he isn't grabbed as much (and it's harder to pet him). Chuck is like the most irresponsible older sibling ever to demons though so Kelvin recruits him (as an older sibling vibe) to go help him get his ACTUAL older sibling from Earth. Chuck agrees. And then drags Vincie from Hell with them because no one else wants to babysit him and he refuses to unbind the hex just to re-hex when he returns to Hell.

In Hell, Kelvin actually doesn't appear much different than his human form! Like Kronos, the lines under his eyes are red in Hell but black on earth. Chuck however? In Hell he has wolf-ish ears and has a fur lining his neck (note the neck scars in human form). In addition to that he has four eyes in Hell (note the scars under his eyes in human form). Vincie just has horns in Hell. And! In Hell the hex doesn't have a silly looking "tied up" look, it's invisible unless Vincie strains it with movement and then its red text. But it shifts on earth to be visible.

Vincie's biggest agony for the entirety on earth is "dude it's colder here than in Hell I want a jacket to slip my arms into BUT I CANT BECAUSE IM BOUND".

[fellhellion]

apologies for yosukeposting and especially incoherently but slowboiling in my brain whatever the hell was going on w him in kanji’s dungeon. guy who slingshots between some kinda fraught observation that this is so much worse for kanji because it’s happening in front of an audience (over like. freaking out about it), furiously asserting that he’s heterosexual, insinuating danger but then also being the one who volunteers to take kanji home afterwards.

It’s sooooooooooooooo.

[heterophobiclanwangji]

my favorite bingqiu fic idea i’ll never get around to writing is a no transmigration au where shen yuan was born as shen jiu’s older twin brother who died at the qiu estate, but shen jiu somehow managed to capture his soul so some of shen jiu’s rocky cultivation is that he’s trying to further his own cultivation while also preserving/repairing shen yuan’s soul. shen yuan finally reforms when shen jiu and liu qingge are in the spirit caves before sha hualing’s invasion, so he would be 15/16 at the same time that binghe is 15. so he’s shen jiu’s older brother AND his twin AND much younger than he is AND insists on calling binghe his luo-shixiong to shen jiu’s increasing dismay

[kaythefloppa]

Lion Guard Finale Praise + Rant

There is a lot I hate about The Lion Guard's final episode but the one thing that will always hold a special place in my heart is the return montage:

You can't tell in screenshots, but in the background, the LG chorus sings a reprise of the Departure Theme from the premiere episode, with this montage being a book-end to the goodbyes that the Guard said to their friends and families in that episode.

It's really sweet and powerful because it's a beautiful example of "Show, don't tell" (a rule which this show, particularly in Season 3, and the LK sequels in general are not the best at following). We see what the Lion Guard had left behind when they went on their journey to the Tree of Life, how much they had missed their home and how glad they are to be back and how that feeling was reciporicated by their friends and families.

Keep in mind that earlier that morning they were under the belief that Zira invaded the Pride Lands and had possibly killed the royal family and subjugated the Pride Lands' non-lion subjects if not giving them a same gruesome fate (since Kion knows that Zira is a lion supremacist, god-forbid what would happen if she ever got near Mtoto, Thurston, or Ajabu), and on the Pride Landers' end, the Lion Guard had been gone for such a long time with no one having any way of knowing they'd return or if they died. So this reunion was likely also a huge relief for everyone in the Pride Lands, especially Simba, Basi, and Timon and Pumbaa (who no doubt would've been scared shitless at the idea that their kid could be missing forever or dead and have no way to confirm or deny that possibility). It's just all around amazing to see. When watching the episode for the first time when it came out I thought something was wrong with my computer because despite there being 14 minutes left, I wholeheartedly thought the series was going to end there....

...which is why I'm very mad that it didn't and forever disappointed at the route they went with for the actual ending.

In the span of less than a full day since the Lion Guard returned from the Tree of Life, all of them instantly want to head back there on a whim after losing the Lion Guard contest, which would wind up in them completely uprooting their lives and leaving their home and families again for the sake of this one kingdom that we've only seen for seven to eight out of 74 episodes plus a TV movie! The reunion showed us that the Guard was strongly attached to their home and families, but now the ending forces us to ignore that to logistify the Guard willingly going to the Tree of Life without any on-screen goodbyes or send-offs. No scene of doubt, no goodbye songs, no parting ways between characters, nothing, it just jump cuts from "Hey, let's go back to the Tree of Life even though we've only been back here for a day" straight to them at the Tree of Life for Kion and Rani's wedding. Isn't the episode's title supposed to be "Return to the Pride Lands?" Yet the "return" plot stops mattering after the first 11 minutes.

The whole Guard leaving with Kion doesn't even make sense: Bunga has Timon and Pumbaa at Hakuna Matata Falls, Beshte has to co-lead the hippo pod with his father, Ono has his flock and possibly even Ona (you could argue that he would want to return to the Tree of Life because they healed him, but that's not the reason they went with - Also the poor dude lost his Mark of the Guard twice, the first being after he lost his eyesight to protect the Pride Lands from Scar, like, what the fuck?), Fuli had been the most admant about returning to the Pride Lands, and Anga showed no interest in staying at the Tree of Life and seemed perfectly ok in the Pride Lands.

Even back in the days where people were theorizing what would happen to the Lion Guard that caused them to be absent in TLK 2, I never saw reason for the whole Guard to leave if Kion ever left, and even then, I never expected any departure to be permanent because it would go against their whole life-style. It feels like they only had them leave like this for the sake of some "twist" that didn't need to be there. And even if they were going to go with this route, they could've had the Guard separate, with some staying and some going to at least make sense.

Much like Makini, Season 3 ignores crucial story elements of the main characters from the first two seasons to both justify their "plot-twist" by the end and to wrap up any “plot-holes” with the Lion King 2 and forces the audience to suspend an inappropriate amount of their disbelief. So while I like the reunion in the final episode and whilst my love for the show remains un-matched, knowing how it all ends and that (according to some writers) it was planned from the start to end like this makes me feel cheated in a way. One of the most disappointing endings I've seen from a show which I've been willing to follow from start to finish and this is coming from someone who's watched both Jake and the Never Land Pirates and Bunk'd.

[dwtolos]

started watching another home makeover show and it hit me once again how much I want an AU where George and Sapnap are the hosts of a 'siblings getting their own rooms' show (they compete on which room suits their respective kid best) and Dream is one of the cameramen who ended up commenting out loud about something so he ends up being a faceless fan favorite. George does flirt with Dream a lot. Sapnap is very tired of it. They also compete about which room Dream would like the best, which is not the point of the show but in their hearts it is.

[sleepinglionhearts]

If you've been playing the new pokemon games and you've run into one very purple/pink boy named Amadis.....

[sneez]

since i started testosterone in february i have been reading a stanza of andrew marvell’s poem ‘the garden’ every month to track the way my voice has changed. today i finished it :-)

[cherrymoonvol6]

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