#hp general knowledge

[morayofsunshine]

ecosia search: how to break it to your dad that jk rowling is a huge pile of shit and giving her content attention also gives her bigotry a platform

[vintagegeekculture]

The Evil Little Hairy Cave People of Europe in Pulp Fiction

From the 1900s to the 1940s, there was a trendy theme in occult and horror stories that the explanation for widespread European legends of fairies, brownies, pixies, leprechauns and other malicious little people, was that they were a hereditary racial memory of the extremely small non-human, hairy stone age original inhabitants of Europe, who still survive well into modern times in caves and barrows below the earth. Envious of being displaced on the surface, these weird creatures, adapted to the darkness of living underground and unable to withstand the sun, still mean mischief and occasionally go out at night to capture someone.... usually an attractive woman....to take to their dark caves for human sacrifice.

Displaced by the arrival of Indo-European language speakers at the dawn of the Bronze Age, these original, not quite human stone age people of Europe were driven deep underground into caves and barrows below the earth, where they went mad, adapted to the darkness and acquired a fear of daylight, became extremely inbred, in some cases acquired widespread albinism. It is these strange little people who gave the descendants of Europeans a haunting racial dread of places below the earth like mines and caves, and it also is these strange, hairy troglodytes who originally built the uncanny and mysterious menhir, fairy rings, and stone age structures of England, Scotland, and Ireland that predate the coming of the Celts and Romans.

In some cases, these evil troglodytes are usually identified with the mysterious Picts, the pre-Celtic stone age inhabitants of the British Isles. In some cases, they are identified with the Basque people of Spain, best known as the inventors of Jai Alai, and the oldest people in Europe who speak a unique language unrelated to any in the world.

The original codifier of this trend was Arthur Machen, a horror writer who is less remembered than his contemporary, Henry James, but who may be the best horror writer in the generations between Poe on the one end and Lovecraft/CL Moore/Clark Ashton Smith on the other. His story, "the White People" from 1904 (a reference to their strange cave albinism) was a twisted Alice in Wonderland with a girl who is irresistibly attracted to dark pre-Roman stone age ruins and who is eventually pulled underground.

In addition to being a great horror writer, Arthur Machen was a member of the Hermetic Society of the Golden Dawn, an occult organization, and was often seen at the Isis-Urania Temple in London. Many of his works have secretive occult knowledge.

H.P. Lovecraft in particular always pointed out Arthur Machen as his single biggest inspiration, though he combined Machen's dread and occultism with Abraham Merritt's sense of fear of the cosmic unknown, seen in "Dwellers in the Mirage" and "People of the Pit."

Another and scarier example of this trend would be "No Man's Land," a story by John Buchan, a Scotsman fascinated by paganism and horror, who often wrote stories of horrific discoveries and evil rites on the Scottish moors. He is often reduced to being described as a "Scottish Ghost Story" writer, a painfully reductivist description as in his career, Buchan wrote a lot of thrillers, detective, and adventure stories as well. In later life, he was appointed Governor General of Canada, meaning he may be the first head of state to be a horror writer.

It was Buchan who first identified the cave creatures with the Picts, something that another Weird Tales writer decades later, Robert E. Howard, would roll with in the 1920s.

Howard is a very identifiable kind of modern person you often see on the internet: a guy who talks tough, but who was terrified to leave his small town. He created manly man, tough guy heroes like Conan the Barbarian, Kull, and El Borak, but he himself never left his mother's house. It's no wonder he got along well with his fellow Weird Tales writer and weird shut in, HP Lovecraft. With 1920s Weird Tales writers, despite your admiration for their incredible talent, you also can't help but laugh at them a little, a feeling you also apply to a lot of Victorians, who achieved incredible things, but who are often closet cases and cranks who died virgins ("Chinese" Gordon comes to mind, as does Immelmann).

With Howard, his obsession with the Picts and the stone age cave dwelling people of Europe started with an unpublished manuscript where at a dinner party, a man gets knocked out and regresses to his past life in the Bronze Age, where he remembers the earliest contact between modern humans and the original inhabitants of the British Isles, the evil darkskinned Picts. This is a mix of both the "little cave people" story and another cliche at the time, "the stone age past life regression novel," another turn of the century cliche.

Still with the Picts on his mind, Howard would later create Bran Mak Morn, a Pict chieftain, who predated Kull and Conan as his Celtic caveman muscle hero. Howard was of Irish descent and proudly anti-Colonial and anti-British, with his Roman Empire and Civilized Kingdoms as a stand in for the British and other Empires, which he viewed as rapacious and humbug, a view shared by his greatest inspiration, Talbot Mundy. His "Worms of the Earth" gets to the heart of why these little cave people scare us so much: they remind us that we live on land that is impossibly ancient and we don't fully understand at all.

It was another Weird Tales Writer a decade later who wrote one of the last stories about the little hairy cave people of Europe, though, Manly Wade Wellman in 1942. Wellman was mainly known for creating the blond beefcake caveman hero Hok the Mighty set in stone age times, and for his supernatural ghost stories of Silver John the Balladeer set in modern, ghostly Appalachia (like many ex-Weird Tales writers, he made a turn to being a regional author in his later career, in the same way Hugh B. Cave became a Caribbean writer), but Wellman also had a regular character known as John Thunstone, a muscular and wealthy playboy known for his moustache who used his great wealth to investigate the supernatural and the occult. Thunstone had a silver sword made by St. Dunstan, patron of Silversmiths, well known for his confrontations with the Devil.

Most John Thunstone stories featured familiar stories, like a demon possessed seance and so on, but one in particular featured a unique enemy, the Shonokins.

The Shonokins were the original rulers of North America, descendants of Neanderthal man displaced by American Indians. This fear that the land we live is ancient and unknowable and we just arrived on it and don't know any of its secrets is common to settler societies, who often hold the landscape with dread, as in Patricia Wrightson's fantasies of the Australian Outback. It was easy enough to transport the hairy cave people from the Scottish Moors to North America. I suspect that's what they are, a personification of a fear shared in the middle class, that in the back of their minds, that everything they have supposedly earned is merely an accident of history, built by rapacity and the crimes of history, and that someday a bill will come due.

A text page in the May 1942 issue of Weird Tales gives strange additional information on the Shonokins not found elsewhere:

Since then, there have been too many examples of evil cave people who predate Europeans. Philip Jose Farmer's "The All White Elf" features the last survivor of a pre-European people who live in caves. A lot of other fiction of course has featured the Picts, but according to our modern scientific understanding, which describes them as much, much less exotically, as a blue tattooed people not too different and practically indistinguishable from the Celtic tribes that surrounded them, and which they eventually blended into.

[a-substantial-trash-pile]

hey guess what. it's finally time for my Stardew Valley Loredump. i’m about to ramble about my farmer and yo-yo/yoba and shane in a probably long-ass, disjointed post because i have a problem ok. not expecting anyone to read it all of course—just want to finally write these brainstorming shenanigans down. the loredump will be below the cut below the image 👇 (WARNING: IT'S LONG):

SAMUEL IZAWA:

*samuel is 28 years old, pan, japanese okinawan (no im not self projecting hahaha), and goes by he/they. main thing is that they’re from “our world” where stardew valley is a video game, but he died and ended up in the stardew universe. because i think isekai tropes are fun and silly. as the player, samuel can do things others in the stardew world can’t do, such as: 

summon the in-game HUD that’s only visible to him, so he can see health/energy levels and inventory and all that.

speaking of inventory, it’s essentially a pocket dimension samuel can shove stuff in. the inventory doesn’t really care about size/weight/etc as long as it’s something the system considers an “item.” so like samuel can put a whole ass four poster bed in there but he can’t do that to a person or a whole house. samuel just needs to touch the item to make it disappear into his inventory. he can then summon it back out when he needs it. the game’s inventory limit system remains the same. samuel gets 12 slots on their own, but if they have a bag on them it increases to 36.

can access the player menu you can normally access in game. so like profile, skills, collections, relationships, etc are all there. no options or quit tab though. having the relationship tab is a nightmare for samuel, who has major insecurities about what people think of him. that tab is a quantifiable measure on how much people like him. it a real brain demon for him to know it exists and is right there for him to access anytime. 

can see the “stats” of food and healing items. hp/energy recovery amounts, buffs, etc. 

*funny thing is that samuel has never played SDV himself and only has knowledge based on what he’s heard and seen online secondhand. ironically he was planning on playing the game for the first time before the whole dying thing ruined it. they can’t even remember how they died, but it doesn’t bother them as much as they think it should. they didn’t leave much behind in that life.

*anyway, i’m talking a lot of game terms here, but don’t get it twisted. while samuel has all these game systems going on, the SDV world is very much a real one that doesn’t normally work by that logic. by that i mean time flows normally like in our world and there isn’t just 4 months in a year. things exist outside the valley. there’s a whole planet of places and people. 

*luckily samuel has help in navigating this new world in the form of yo-yo the junimo, who is the first living thing samuel sees when he first wakes up in that joja cubicle. yo-yo helps explain a lot of things and guide samuel around in its own abrasive way. he’s also there to be like, “hey i gave you a second chance at life so you kinda owe me actually. sign this contract.” and samuel, who is a pushover and also confused, is just like, “ok.” (yo-yo sounds like danny devito btw. because i think it’s funny.) 

*i call the contract a “magical girl contract” because that’s essentially what it is. samuel gets access to extra powers/abilities on top the stuff he can already do as a player. in return he fights monsters n shit for yo-yo and generally does things for them that they can’t do easily on their own. the extra benefits include: 

higher pain tolerance. which isn’t always a good thing. especially when you tend to not be great with self-preservation like samuel is. 

can heal most injuries by just eating/drinking stuff to regain hp.

yo-yo can teleport the both of them around as needed, but it’s tiring and it drains a lot of magic. distance matters too.

yo-yo can spawn items but it drains magic as well. the more valuable/rare the item, the more draining it is. spawning items is already a magic-intensive thing in the first place. also yo-yo isn’t creating the item out of nothing. they’re actually randomly taking it from wherever it already exists in the world. for example, say yo-yo “spawns” a jar of pickles. somebody in the world is going to open their fridge and discover their jar of pickles is missing or maybe a grocery store will have a sudden empty spot on its shelf. yo-yo doesn’t have control of where the items are taken from (or so they claim).

samuel and yo-yo’s magic pools became connected so they can both do more than they could do on their own before. this is one of the reasons why yo-yo wanted a contract with samuel, who has a larger magic pool than normal due to being from another world. but it’s possible for one side to use up all the magic for the both of them. 

*samuel’s personality can be summed up as Awkward People-Pleasing Tired Sad Garbage Dork. either he’s dressed like a grandparent in sweaters and turtlenecks or he’s wearing a button up shirt with the collar undone and jeans. they usually have their neck covered in public to hide the mark of yoba embedded there. he has a “resting bitch face” as some may call, but that’s just because his brain is busy over-analyzing 193828 different things. he loves being outside in the grass and dirt, looking at bugs n shit. he’s also a nerd who likes to play video games and ramble about the lore in them (he likes RPGs the most, but if the game’s got a good story and cool world, he’s into it). they like to do things with their hands like model building/painting. in their new stardew life, they get into woodcarving after willy teaches them the basics (he carves shane a little chicken). 

*samuel does NOT know how to say “no.” absolute pushover. their self-worth is based on how much they’re liked by others, which isn’t healthy obviously. he has a fear that the only way he can be liked is by being useful. he’s scared that he is inherently a bad and selfish person, because he can’t say for sure if he’s helping others purely out of kindness or because it just makes him feel better about existing. deep down there’s anger/frustration that’s accumulated over the years, anger towards himself and also others because he’s always doing things for other people—going above and beyond—but it never feels like enough. at the same time though, they hate it when these thoughts come up because they believe that you shouldn’t go into helping somebody expecting that you’ll get something out of it. he hates how much of a hypocrite he is. he hates how he bases so much of his self-worth on the opinions of others, but feels helpless to it. they usually just push these emotions down because samuel feels guilty about them. how can they be a good person if they’re thinking like this? how can they deserve to exist with this mindset? however they get a chance to let out the anger/bitterness/frustration through fighting monsters. kind of disassociating in a way. this also isn’t a good thing because his demeanor is much colder and scarier during combat. having someone who’s felt powerless for so long suddenly gain power is a dangerous thing.

*this mindset when monster fighting shatters when samuel meets krobus and realizes that monsters aren’t just the simple enemy NPCs their brain had been automatically categorizing them as. guilt galore. he gets real depressed about that for a while but yo-yo, krobus, and shane are there to help him. 

*SPEAKING OF SHANE… it’s crush at first sight for samuel because hot damn is shane their type. i mean just look at him. mamma mia. haha anyyyway, they first meet at the stardrop saloon. samuel’s waiting at the bar for his to-go order near where shane is drinking. shane’s looking sad, so samuel gives in and decides they’ll start a convo to maybe distract him from whatever’s bothering him. samuel employs the “crack a dumb joke to hide the fact that i’m nervous because i’m talking to a hot person and then use that opening to introduce myself” strat. shane, being an asshole, is like, “oh so you’re the new farmer. here’s a tip: don’t bother me.” samuel takes 999 damage and their brain immediately goes “THIS IS MY FAULT I FUCKED UP like who wants to be talked to by a stranger when they’re sad goddammit why am i so bad at this?!!” it’s overall not a great first impression. after that, samuel tries to avoid shane out of embarrassment, but circumstances keep making them run into each other. for instance, samuel works a lot with marnie with her being a mentor figure to him in animal husbandry, so he and shane have a lot of opportunity to interact through that (plus marnie is secretly trying to get them closer to each other). through these meetings and shenanigans, samuel and shane get to know each other better until one day they’re friends. then good friends. then best friends. then kiss friends. then marry friends. :)

YOBA (A.K.A. YO-YO): 

*yo-yo is ????? years old and goes by any pronouns but most of the time it's it/they.

*yo-yo is actually THE yoba, but they’re not the completely benevolent creator-of-all-things humans have made them out to be. maybe they were in the past, but now they’re selfish and rude and swear a lot. but they do still care, even if they don’t admit it (tsundere-ass). yoba is currently stuck in the form of a little junimo and is substantially weakened because it gave too much of itself away to the world in the past and got burned for it. because the world kept taking and taking. and now there’s war and pollution and shit and yoba/yo-yo is maybe just a teensy tiny bit angry and bitter now. but it’s ok because now they got this human from another reality to help them reclaim the pieces of itself. and maybe along the way relearn how to love the world again.  

*oh also yoba didn’t create the whole planet like the creation story claims. they’re technically an alien that came across a young planet full of life and decided to stay and help it develop. 

*main reason yo-yo made a contract with samuel is because it needs help finding/reclaiming the pieces of itself. pieces can usually be found in strong monsters empowered by the piece. this isn’t always the case though. sometimes it’s in an ancient artifact. sometimes it’s in a specific place like a temple. sometimes it’s in a person. 

*samuel doesn’t have to deal with having an existential crisis about yo-yo, since he’s from our world where yoba doesn’t even exist as a god. yo-yo claims to be the one responsible for bringing samuel over into the stardew universe, but there are holes in their story. where did yoba even find the power to do such a thing when they’re in such a weakened state? mysterious. 

*the first time yoba reveals itself to shane is kind of chaotic. it’s in the middle of the night when yo-yo suddenly appears in shane’s room, grabs his face with its little stick arms and yells, “WAKE UP!!! YOUR BOYFRIEND IS IN MORTAL PERIL!!!” shane is like, “WHAT THE F–”     it was an act of desperation on yo-yo’s part, because samuel was in trouble and shane was the only one it could think of going to for help. essentially samuel meets something Bad in the deep mines, something that takes him out of commission and puts him in a trance state while draining his lifeforce. y’know, the classic kind of trance state where you need to figure out how to get the person back–how to snap them out of it. yo-yo tried and failed, so that’s where shane comes in. it’s the classic “love-interest-breaks-main-character-out-of-mind-control-with-sheer-power-of-love” trope. except shane does punch samuel during it. lovingly. in the face. hey it works ok.     after the chaos is over and everyone’s safe and gathered together, samuel and yo-yo explain everything to shane (well more like samuel explains everything while yo-yo wishes outloud that they had their memory erasing powers back). shane, who is canonically an atheist, learns that this talking pottymouthed jerkass apple is actually THE yoba and is just like, “yeah. this might as well happen.” and then he remains atheist because what else are you going to do when you learn that god is a talking pottymouthed jerkass apple who calls you a bitch and is also responsible for your partner having to go do dangerous shit. he and yo-yo have a rocky relationship at first to say the least. but once they both realize how much the other cares about samuel, things get a little better. 

*yeah, yoba may be a bitch and they may be angry and they may be bitter, but they really do care, even if they try to convince themselves otherwise. even though so much got taken from it, it still cares about humans and dwarves and shadow people and everything else on the planet. and when it eventually comes down to it, yoba will step up to protect what it loves, even if it means losing everything again. 

SHANE FINCH: 

*this post was technically supposed to just be about my farmer and yo-yo’s lore and stuff, but i gotta give some personal headcanons i have about shane… like for instance his last name is “finch.” because i thought the bird theme was cute. he’s 29 years old, bi, and half asian, half white (in our world that asian half is korean). i’m not being specific because i don’t know if korea even exists in the stardew world, since all we know in the game is that there’s a “ferngill republic” and a “gotoro empire.” i was thinking of just headcanoning that stardew’s planet is essentially the same as earth. so like most of the same countries/nations exist except the history diverged a bit along the way, leading to the ferngill republic and gotoro empire. OK SORRY for the tangent—back on topic.

*so shane is a trans man who started transitioning back in high school. he had two best friends who were very supportive and really helped him on his journey to figure himself out. those two friends were like family to him. it was good that he had this support because his parents were always pretty shitty and shane transitioning just made them act even shittier. the only good family member of shane’s is marnie, who was supportive, but she lived far away, was busy, AND wasn’t on good terms with her sister (shane’s mom), so shane didn’t get to see her much. 

*the moment shane became a legal adult, he got away from his parents, finding a place with his two best friends and moving in together. oh and his friends’ names were rosa and heath. should’ve probably mentioned that earlier oops.     shane, rosa, and heath go to the same college together, suffer student loans, graduate, etc. haven’t thought of what shane would get a degree in yet—most likely something “generic” because he’s unsure of what he wants to do himself (i feel u bby). 

*ok so rosa and heath were dating since high school, but they were so comfortable with shane and vice versa that things never got that awkward living together. however when rosa and heath got married (“yoba, FINALLY,” shane would say), shane felt like it was time to find his own place, much to the devastation of his bffs. the apartment ended up close to where rosa and heath lived of course—the couple made sure of it (“stop backseating my apartment hunting!” “MAKE US”). 

*rosa and heath get pregnant and have a healthy baby girl that they name jasmine. i headcanon jas as black (from heath’s side) and portuguese (rosa’s side). everyone is thrilled about the baby. shane was immediately offered godfather role and he happily accepted. jas was the cutest baby ever and he adored her. he babysat jas all the time. 

*jas was 4 years old when rosa and heath tragically passed away in a car accident. they were coming home from a business dinner when they lost control of their car on some black ice and slid into oncoming traffic. shane was babysitting jas when he got the call. in the span of one cold winter night, shane and jas’s world shattered. 

*rosa and heath didn’t have any reliable relatives either. those relatives only came to take the money and belongings. shane was the only one jas had, so he adopted her. he tried his best to pick up the pieces. he really did. he lasted for a year trying to raise a kid on his own with the salary of a dead-end job, but he knew the situation wasn’t good with the money and how much his mental health was spiraling. he knew he and jas were in dire need of more support (“jas deserves better than this”). so he turned to the one person he had left to rely on: his aunty marnie. and that’s how shane and jas ended up in pelican town.

*shane’s joja jacket was actually originally rosa’s. rosa worked as an accountant for joja and would get free promotional items all the time from the company. the jacket was one of the only things she actually ended up using because “it’s pretty comfy for being joja bs.” she would wear it all the time, much to her more fashion-conscious husband’s chagrin (yet he would patch up any holes she’d get in it anyway). after rosa died, shane kept her jacket. there were a lot of memories in it. 

~~~

ok that’s it for now. if anyone actually read all that, thank you for even wasting your time to process my ramblings. i’m sorry it’s so fucking long like jfc.

*who is mr. qi?

[felassan]

Just poring over some of the new images. ◕‿◕

Combat shot, with the Ability Wheel open. Elf sword and shield Warrior Rook (cape and flowing hair!!!), Harding and Bellara fight a red lyrium ogre. Compared to early game, like here, more abilities and parts of the ability wheel are unlocked. The display advises that the ogre is vulnerable to fire damage and resistant to what looks like necrotic[?] damage, which we know is a thing (and it makes sense why that wouldn't affect darkspawn much). The purple and bronze color theme of the game is evident in the display. The bottom three icons must be Rook's current skills. The icons on the right are Bellara's, the left Harding's. I wonder if the bar at the bottom is Rook's 'special resource' bar? (the one that is Momentum for rogues) Then, in the bottom left, I guess the green bar is Rook's HP, along with notification that Rook currently has three health potions[?]. It looks like right on the d-pad consumes a health potion, while down on the d-pad could maybe be swap weapon set? We can see that both Harding and Bellara have access to a healing skill. In the bottom right, we have the option to navigate, change target, select, close and cancel.

It's interesting looking at the buttons for different skills and actions and trying to figure out what they are based on what the symbols could represent. ^^ Highlighted is a skill of Harding's called "Shred". The display advises the damage amount, cooldown time and general effects applied by that skill. It staggers enemies and looks like it sunders armor. I wonder if in this shot, the player has hovered over Shred on the wheel (purple light highlighting it, info popup on that specific skill). Then, the system helpfully auto-advises what other skills the party have right now that would make a combo with Shred (amber arrow, top skill of Bellara's being highlighted in amber) - a handy suggestion. It also explains why it makes a combo, namely that a certain effect of that skill of Bellara's combines with the sunder effect of Harding's Shred. With the symbol and name of Shred, I guess the idea is that Harding fires a shot that shreds through an enemy's flesh. :>

As for where they are fighting in.. the growths on the walls and black tentacle-looking things could be rubble and roots, but they remind me of Blight corruption in general and such as we see here, and well, there is an ogre. The gold on the floor and the shape of the gold patterns on the wall gives ancient elvhen ruins. There is also a plinth of some kind in the middle of the room. I wonder if this could be this area and battle mentioned in the Game Informer cover article:

"After a few more combat sections, including against a Frenzied sentinel, we reach the center of the temple. In there is an artifact called the Nadas Dirthalen. Bellara knows that this means “the inevitability of knowledge”. Before we can progress, a darkspawn ogre boss attacks, hitting hard with unblockable, red-coded attacks and a massive shield that you need to take down first. It is weak to fire After defeating it (it’s a climactic arena fight), Bellara uses a special crystal to power the artifact and remove it from the pedestal, which destroys the Veil Bubble."

This ogre has a shield next to its HP-type bar and this room could feasibly be an 'arena'-like area. The plinth in the room could be the pedestal. Bellara is present at that point in the game as here, and the aforementioned temple is an ancient elvhen space.

Btw, Bellara's backpack is so cute.

Harding's party icon has her staring off to the distance, scout-like, ever looking forward, while I feel like Bellara is looking into my soul!

Combat shot. Mage qunari Rook, Bellara and Neve. The Ability Wheel is not opened. It looks to me like Rook here has the same overcoat on as qunari Rook here. The party are fighting red lyrium darkspawn. In the bottom left, the possible 'change weapon' button has a different symbol; where previously it was a sword and shield because warrior Rook, here it looks like a staff (for mage Rook). At the bottom, in the possible 'Rook's special resource' bar, where previously in the prior shot it was empty, for this shot it looks to be fully charged. (and here it would be mana as Rook is a mage)

It looks like a meteor has just struck the earth, sending darkspawn flying. Rook, here a mage, has an ability where its symbol looks like an asteroid or meteor. I think this Rook has just cast the new spell Meteor, which was mentioned in the June 14th Discord Q&A:

"Fireball and Cone of Cold do not specifically return as spells in this game, but their successors do: Meteor and Frost Nova. These two abilities serve the exact same combat role and function as the previous two, only ���with quite the glow-up”, especially Meteor. It is “so satisfying nuking a group of darkspawn with a well-placed Meteor”."

And in this screenshot, we can see why. :D

It also looks like there is a skill that can only be cast when Rook has two 'blue bubbles'-worth full on their Mana bar. And, I wonder what the purple bird symbol skill is?

To the right, next to the wagon and crates, it looks like there may be a chest we could loot. Crates and wagon left from previous Veil Jumper excursions?

The enemies here just have plain old HP bars (red color), no armor or barrier or anything on top of it. Compare the ogre in the previous shot which has an 'armor' bar with a yellow-orange color.

Location: This is Arlathan Forest. In the distance is ancient elvhen ruins and architecture, the floating rocks in areas with Fade 'warping', and trees, some which look to have the orange foliage of that area. The pink iridescent hazy light gives a whimsical feel like Game Informer described, and recalls the iridescence you see on soap bubbles. It makes me think that 'wall' of light is the edge of this particular Veil bubble. I think this shot is set in the opening four hours of the game, after the gameplay reveal video and in the section following that described by Game Informer. In the distance is the elven temple that the team are fighting towards (inside there would be Nadas Dirthalen and the ogre fight).

One question I have is is what is the blue orb thing in the distance, just beyond the fiery arc of the meteor? A piece of ancient elven tech? Part of how Veil Jumpers navigate around?

To reach it, we must remove the floating rock rings, and Bellara’s unique ability, Tinker, can do just that by interacting with a piece of ancient elven technology nearby

I wonder if this orb thing is one of those pieces of tech Bellara can perform tinker on. ^^

Combat shot. Human rogue rook and Harding fight in the streets of Minrathous in the opening section of the game. Look at the water effects of raindrops hitting the ground, and the reflections!! They are fighting demons, which are redesigned in this game. You can see the raw veins of their exposed 'nervous systems'. Maybe these are what Shades look like now? ^^ their lil swords are new.

Looking at the arrangement of five skills in this shot and the last one, I wonder if the button on the bottom left is the 'auto-attack' one? Here it's just some arrows (archer Rook), in the previous shot with mage Rook it looks like it could be a mage staff or a mage staff in the process of doing a basic attack.

In the upper background in the center of this picture, that blue light icon is the Inquisition hairy eyeball. What does this indicate? The critpath we need to follow to progress?

The vases and hanging pots make this street feel lived in. The height of the buildings and slant of them make the streets feel closed-in and claustrophobic. It's a neat vibe, living in Minrathous if you aren't one of the upper classes probably feels quite hemmed in and oppressive like that.

The team has taken the lore and art direction seriously and with care, you can tell. :) down to things like the shape of Tevinter doorways and the shape and red glow of Tevinter windows. It's very cool!!

Arlathan Forest, known from a file name. Qunari Rook (looks like a mage), Bellara, and Emmrich explore an overgrown ancient elvhen ruin. Beautiful golden light, sun dapples and beams through leaves, branches or vines hanging down, crumbling cobbles, broken walls, the shiny gold patterning and curving shapes and arches of ancient elvhen architecture (even the cobbles were laid in curves). This shot is beautiful, the game looks beautiful. ^^ I'm so looking forwards to exploring ancient elven places in this game and finding out more elf lore, and I can't wait to hear what insights and thoughts Bellara has to offer in these locales. Emmrich looks so polite here hh.

In the foreground is a statue of a hart or halla. As with here, it looks to be an asset from DA:I (example of one in Ghilan'nain's Grove in that game).

Arlathan Crater, known from a file name. A beautiful scenic shot, no party visible. (If Photo Mode does indeed end up being a thing in this game.. think of the potential :D) Ancient elven ruins and two halla, in a way that reminds me of the elven ruin Bellara appears in during the character trailer.

Mage qunari Rook, Davrin (yayy!!) and Bellara. I'm sounding like a broken record here but just look at all the fine details. Scratches on Davrin's shield, detailing on clothes like textures, patterns and stitches.. how cool Rook's staff is (could this staff be a Warden mage staff? the feathery design reminds me of Davrin's Warden griffon shield), Bellara's many pouches, the magical particle effects lighting up Bellara's gauntlet-bow. ^^ The team here are in some dark, overgrown, ominous and twisted looking place, and they are threatened again by the red lyrium darkspawn. To the right of Bellara's head and behind her bow, you can see pustules of Blight/Taint corruption. It also looks like there is a lantern near Bellara's head hanging from a post, a lantern with grey metal wings. Maybe this shot was taken in a Warden locale, like the outskirts of Weisshaupt or something?

A beautiful shot of Bellara using her magical gauntlet. Comparing the vegetation here (with the red patches) to that in the 'two halla' shot, it looks like this shot is also taken in Arlathan Forest / Crater somewhere. I wonder if this shot shows Bellara in the middle of using her ability "Tinker"? She's looking at something and the gauntlet is lit up like its magic is interacting with something.

[romnianistan]

@joannerowling

[Introduction]

While many articles have been written about Harry Potter and the school board genre or its relationship to fantasy, very few people have looked into the influence of the Gothic in Harry Potter (or in JKR's works in general). Part of it I think is due to the depreciation of Harry Potter by the cultural bourgeoisie, who only regard it as mere children's books that don't hold any actual literary value and that aren't worth to be studied seriously. Yet many tropes, storylines and plot devices used by JKR draw inspiration from the Gothic genre, bringing to it a modern twist by both adverting and subverting Gothic clichés. This inspiration is apparent in JKR's focus on broken families stuck into a cycle of poverty and violence involving incest and alcoholism or in the settings of many of the most iconic scenes of her book (to me the situation of Merope Gaunt, the way she's treated by her male relatives and the description of her house clearly allude to that of Catherine Linton at Wuthering Heights). In another (badly written) post, I tried to argue that one example of such a subversion in JKR's works was her use of the Gypsy theme -- Romani people as the embodiement of marginality, social and sexual danger as well as oriental mysticism --, a trope of Gothic literature most notably used by Emily Brontë in Wuthering Heights and Victor Hugo in the Hunchback of Notre-Dame, and that's been studied by Ken Lee in his article on Gypsylorism. But while JKR never once mentions Romani people in the Harry Potter series (an omission that is very interesting in itself; she's leaving out of her series the ethnic group that's been associated the most with witchcraft in folk tales for centuries, even though she's drawing inspiration from European folklore), she does mention them a bit in The Casual Vacancy and a lot in Cormoran Strike. However, as opposed to Wuthering Heights and HoND, Romani people aren't actually associated with paganism in JKR's books (they would have if she had been racist); their mention serves a Gothic aesthetic purpose as the non-Romani pov character starts thinking about Gypsy witchcraft and wandering, but that romanticising is quickly destroyed once the narrative brings up the actual reality of what it means to be Romani(-adjacent) in the UK: poverty and social exclusion. (In my opinion, this is a subtle commentary on how rich people idealize wanderness and poverty despite their being trauma-inducing experiences for the people who experience them.)

In my opinion, another influence of the Gothic is also the character dynamic she builds around Harry and Voldemort. In three different ways, the Harry/Voldemort dynamic parallels that of Dracula and Mina Harker in Bram Stoker's Dracula: first, the in-narrative construction of that dynamic; second, the way that character dynamic is used as a plot device by both Stoker and JKR in their respective works; third, the significance/symbolism of that character dynamic.

1. The narrative build up

In both Dracula and HP, the psychic bond that unites Mina/Harry and Dracula/Voldemort is created in spite of Dracula and Voldemort. In Dracula, that bond is an inevitable consequence/side effect of the repeated blood sucking Dracula does on Mina. In HP, that bond is created despite the knowledge of Voldemort and as a consequence of Voldemort's murder attempt.

In both stories, that bond was created/reinforced by blood mixing. In Dracula, blood mixing allows Dracula to link his mind directly with Mina's. In HP, that bond becomes much stronger after the graveyard scene, when Voldemort also uses Harry's blood to regain life. In both cases, we have blood magic and DNA mixing involved, resulting in an identity crisis on the part of Harry/Mina (their sense of self is eroded after the distinction between their body and that of Dracula/Voldemort got blurred and as the emotions/thoughts of the other start influencing theirs).

Dracula forms a psychic bond with Mina Harker as a step towards mind control. He wants to read, manipulate and control her mind and her thoughts, and in particular, he wants to use it to spy on his enemies (Jonathan and Van Helsing). However, he is forced to block the link when he realizes that, if he can spy on the heroes through Mina, Mina can spy on him as well by being put into a hypnotic trance that allows her to sense Dracula and his surroundings and can feel how far away or how close he is to them. This is what eventually leads the heroes to Dracula and allows them to catch him.

In Harry Potter as well, Dumbledore fears that psychic link would be used by Voldemort to spy on the Order of the Phoenix through Harry. This is why Dumbledore ignores and isolates Harry for an entire year and this is also what prompted Dumbledore to get Snape to teach Occlumency to Harry -- to block Voldemort's thoughts. But Voldemort doesn't actually use the link to spy. afaik he only uses it twice: once to deceive Harry and get him to come to the Ministry of Magic, and once at the very end of OotP when he briefly takes control of Harry's body. But Harry (just like Mina) realizes he can use that link to his own advantage and spy back on Voldemort (he repeatedly does so in DH): just like Mina, Harry is able to feel what he feels, to hear his thoughts and to sense how far or how close he is.

So we have a similar process following the same steps: evil blood magic on the part of an unwilling villain first, blurring of identity second. In both stories, the psychic link serves as a war strategy playing out over a deep identity crisis. The difference is that this process spans 4 books and 13 years in Harry Potter, with many more smaller steps in between, but overall it's still the same structure.

2. The Harry/Voldemort (Mina/Dracula) dynamic as a plot device

Because everyone uses the psychic link to spy on the other, it becomes a power play for the two characters involved, symbolically representing the struggle between life and death (love and hatred). But it also serves a narrative purpose: both stories are written from the perspective of the heroes. By introducing the psychic link as a plot device, the reader can get some insight into the pov of the villain of the series. The psychic link then becomes a way to drive the action: after each discovery, the character (be it Mina, Harry, Dracula or Voldemort) takes action. They plan a fight/battle, they track each other or they fly from each other. With the psychic link, the writer (Stoker/Rowling) is able to write very cool descriptive scenes from a totally different perspective, taking place in a totally different setting we don't normally see otherwise (think of the description of the Riddle House at the beginning of GoF -- an apparition that is justified in-narrative by its being shown to Harry in a dream). In both Dracula and HP, the psychic link also allows the writer to write dialogues that have more to do with the mystery genre than the fantasy genre (what's the villain doing? are we sure that information is legit? who is he talking to?) Finally, and even if we have to wait a few chapters for it, it leads to the introduction of battle scenes.

So both Dracula and HP use the psychic link as a plot device in a similar way: 1. it drives the action by justifying the writing of descriptive scenes, action scenes and dialogues, 2. it makes the story even more compelling for the reader who gets to hear the exclusive thoughts of the villain in a setting we are not used to (the villain's lair!) so those scenes feel special and cool, 3. it allows the writer to diverisfy the genre of their book by introducing new elements taken from the mystery genre.

3. The symbolic of that relationship

Voldemort, just like Dracula, is an undead being, a living dead. While Voldemort himself isn't a zombie (an "inferi"), a ghost or a vampire, he does surround himself with them and his physical description is very much akin to that of the undead. Two of his most significant features are his paleness (also a recurrent adjective to describe ghosts) and his long, spidery fingers, which together can be used to describe both Voldemort and Nosferatu:

(book!voldemort literally looks like this bad guy over there ^ but without a nose and with red eyes -- and this is why he haunts my sleep sometimes!! that character design fucks)

Symbolically as well, Voldemort is an undead being, a living dead, as it says in his very name ("fleeing death", "flight from/of death"). In his backstory as well, Voldemort became twice a living dead. First, by spiritually killing himself and rendering his soul to the dark arts in pursuit of immortality (in much the same way vampires render their soul to the devil). Second, by falling victim to his own Avada Kedavra spell in Godric's Hollow. (Harry is an example of how one survives the Avada Kedavra; I wouldn't say Voldemort survived it considering all the (physical, if not spiritual) remnants of his past humanity were completely destroyed by it.)

More specifically, Voldemort is a vampire: in his very first apparition in the series, he is seen drinking the lifeblood of a living creature (a unicorn). All throughout the series, Voldemort is the undead that needs to feast on others to survive, by exploiting his followers (in the years following Godric's Hollow, he only survives by drawing on the life force of Quirrell and by living as a parasite with Pettigrew), by living on the terror he inspires to other people, and by turning other living beings (Nagini and Harry) into horcruxes (the same way a vampire would turn the human he drinks the blood of into another vampire). Of course, the number 1 inspo for Voldemort is the boogeyman: everyone in the wizarding world is scared to say his name in case he might literally materialize out of thin air. But he is not described (narratively, physically) as any boogeyman, he is specifically the vampire.

Just as Voldemort is Dracula, Harry is Mina Harker: a human being who represents life. Both Harry and Mina carry a part of Voldemort/Dracula's inside of them, and both of them are scared of eventually becoming like them. Both Harry and Mina survived their confrontations with Voldemort/Dracula thanks to the help of their friends (love and friendship trumping death). Both of them are also common human beings who have been involuntarily turned into something so much more unique by the very assault they survived. The way they responded to it (opposing hatred with love and bravery) turned them into something so much more important than mere human beings: they became symbols inspiring strength to others around them. And all throughout the story, both Mina and Harry retain that common-ness, it is repeatedly stated by both Stoker and JKR, in-narrative, that the only thing that sets them apart from others is Mina/Harry's ability to feel empathy and to draw strength from the love of others.

In the novel, Mina openly feels pity for Dracula - not for the monster that he is but for his soul, explicitly questioning whether it might want to find peace. In the last two books of the HP series, Harry also takes on a similar stance with regards to Voldemort. Dumbledore's last teaching was that Voldemort was someone to be pitied (don't feel pity for the dead but for those who live without love), and even though pity doesn't excuse evil, it gives us the moral ground to be better people and create a better world. This was also Dumbledore's most important teaching, the one Harry only fully understands by the end of Deathly Hallows, when he confronts Voldemort and says the only thing that sets him apart from others and that makes him stronger than Voldemort is the love he feels (only understanding this after spending the entire book trying to figure out why hadn't Dumbledore left a strong weapon, like the elder wand, for him in his will).

So in both their moral complexity wrt to the villain and in the ideals they represent, Harry and Mina are very similar. I would finally add that both of them represent vulnerable groups of people (children and women) who are victims of male/patriarchal violence: Harry (a 14yo boy) is abducted and tortured by Voldemort (an adult male) in Goblet of Fire, while Mina is metaphorically raped by Dracula. It's a bit tangential but I think it's another interesting parallel between these two; in all of her books, JKRowling often associates the harm men do to women to the harm fathers(/male authority figures) do to children and the way Voldemort repeatedly tortured, abducted and tried to kill Harry from age 0 to age 17 could also be one of the ways she builds on that social commentary.

[Conclusion]

=> So narratively, I would say JKR drew inspiration from Dracula when designing the Harry/Voldemort bond. In Dracula and HP, that link is established in pretty much the same way: through blood magic, DNA mixing and resort to the dark arts. It is repeatedly reinforced throughout the story following the encounters of Mina/Harry and Dracula/Voldemort, and it serves as a war strategy between the two of them as everyone involved realizes they can use it to spy on the other, leading to the ultimate demise of the villain. When it comes to character growth, the psychic link also works in the same way: it leads to emotional/mental/psychological distress for Harry/Mina who is scared to become evil too. Structurally as well, JKR used a plot device identical to that developed by Stoker in Dracula to create the Harry/Voldemort dynamic. The psychic link introduces a POV-shift in a book series that's otherwise almost exclusively written from the good guy's pov, drives the action by leading to descriptive/action scenes and dialogues, and makes the story more entertaining for the reader. Thematically, I would also say JKR drew inspiration from Dracula when creating Voldemort and Harry as characters. In the books, Voldemort represents a vampiric living dead boogeyman who rendered his soul in search of immortality (just like Dracula), while Harry represents the hidden force of life and love that lies inside the most common of people (like Mina).

[psychotrenny]

I'll admit that maybe I've spent too much of my teenage years reading and reading about shitty pulp fantasy, but I will die on the hill that Tolkien is not half as important for dnd style shit as people think; he's just the only contributing author who's still relevant and popular. Most of the the things people attribute to Tolkien are actually very clearly products of Howard (Conan the Barbarian) or Moorcock (Elric of Melnibone) or Leiber (Fafhrd and the Gray Mouser) or really any of the myriad pulp authors Gygax was pulling from as he developed dnd. Like come on "tolkien inspired settings with lovecraftian undertones" as though one of the most important foundational authors for dnd sword and story bullshit (complete with incredible amounts of race science) was not literally good friends with HP Lovecraft. Like you don't even need to actually read any of it(like I don't blame you for wanting to avoid it like most of this stuff is very bad) there's plenty of articles about the history of dnd out there which means you can observe this pattern of influence second hand. But if you're going to spend time talking about the current state of any genre (no matter how cheap or pulpy or generally shit) you should probably have the bare minimum of background knowledge on it. No Investigation, no right to speak

[vexwerewolf]

I’ve been wracking my brain for a while to try and make a Melee and/or Grapple Manticore build. Just standing directly next to things and being a menace. I was wondering if I could get your thoughts on something like this. Thanks for reading regardless if you respond to this one. Love reading your stuff.

Luckily for you, this concept did spark joy.

-- HORUS Manticore @ LL6 -- [ LICENSES ] IPS-N Blackbeard 2, HORUS Manticore 3, IPS-N Tortuga 1 [ CORE BONUSES ] Improved Armament, Titanomachy Mesh [ TALENTS ] Duelist 3, PANKRATI 2, Skirmisher 2, Brawler 1, Combined Arms 1 [ STATS ] HULL:4 AGI:2 SYS:0 ENGI:2 STRUCTURE:4 HP:19 ARMOR:2 STRESS:4 HEATCAP:9 REPAIR:5 TECH ATK:+1 LIMITED:+1 SPD:4 EVA:8 EDEF:10 SENSE:10 SAVE:13 [ WEAPONS ] FLEX MOUNT: Chain Axe FLEX MOUNT: Chain Axe HEAVY MOUNT: Nanocarbon Sword [ SYSTEMS ] Synthetic Muscle Netting, Lightning Generator, Beckoner, Siege Ram

I call this one YOUR PUTRID FLESH WITHERS UNDER THE UNBLINKING GAZE OF MY DIVINE CONTEMPT. We're making a Manticore build; this is not the place for subtle or pithy names.

This is a melee-only build, which I normally recommend against. I think it's good for a build to have at least some sort of ranged attack capability, but in this case, there's just no room for it. We're ride or die here, and diluting the build by hedging our bets is just going to tip the scales towards "die."

You are not particularly fast, so we've got the Pankrati valiant charge and Beckoner to help you close gaps. What you want to do at that point is slam in as fast as you can and try to connect with a Main melee attack (Duelist gives you an accuracy to help with that) - not your Heavy, one of your Mains. You then immediately use Duelist 3 to spend the Blademaster die you just earned to free-Grapple the target, and then you use Titanomachy Mesh to follow up the free-Grapple with a free-Ram (and because they're Grappled, Brawler 1 turns on, making your Ram more accurate, and because being Grappled causes them to become Immobilized, Pankrati 1 also turns on, making your Ram EVEN MORE ACCURATE). Knock your enemy Prone but do not knock them away.

To summarize: your target has taken Main Melee damage from you, become Grappled, then been rammed Prone. Because Grappled causes Immobilization, they cannot use their regular movement to stand up from Prone, and because of Synthetic Muscle Netting, unless they're larger than you, they cannot ever gain control of the grapple.

If they don't have weapons or abilities that knock you away, they have two real options to get away from you. The first is to spend a quick action trying to escape the grapple, which they can fail, wasting the action entirely. Even if they succeed, they still either need to crawl away provoking your Overwatch (use your Heavy for this) or use their entire regular movement to stand back up, then their other quick action to Boost away, again provoking your Overwatch.

The second, if they're the same size as you or larger, is to Ram you back. This is more effective, since your Evasion is low, and knocking you away will break the grapple. This still only leaves you one space away from them, which is still within Threat of your Nanocarbon Sword, and unless they have a modifier that deals damage on Ram (which, to my knowledge, no vanilla NPC does), they've spent 2/3rds of their turn just getting 1 space away from you and standing upright. If they decline to move away from you, you can just stand up on your turn and Skirmish 2 spaces towards them to do the whole thing all over again.

If they are a melee class, their best bet is to focus you down, but with 2 Armor and resistance to two types of damage, that's harder than it looks - and if they're focusing on you, they're not attacking your team's squishies, which is the whole point of the Defender class.

If they're a ranged class, they're fucked. With you up in their grill, their attacks against everyone including you become inaccurate. Artillery NPC classes don't tend to have much HP, and rely on staying far away from players. If a weapon has Ordnance, they can't even fire it at you at all if they're in engagement.

On your next turn, if your target is still grappled, activate your Lightning Generator, and then Barrage. Your attack sequence looks like this:

Chain Axe -> free Ram (Duelist 3), no knockback -> free Ram (Titanomachy Mesh), no knockback -> Nanocarbon Sword

Against unarmored targets, this has a damage floor of 9 assuming all attacks hit, and will slam for 5 even if all your attacks miss. Lightning Generator will do different amounts of damage depending on whether you're in the Danger Zone, but Charged Exoskeleton will always trigger off of Lightning Generator (if you choose) and will always deal 2 AP.

Note that if you're in control of the grapple (which, thanks to SMN, you usually are), you can still make your standard move. This means you can drag your victim 4 spaces towards or away from your friends.

When you turn on your ult, enemies have an even more miserable time, because now not only are there two forms of damage you're resistant to, you're also resistant to Heat (which means you can Overcharge for half price). Worse, any Heat or Energy damage you take now increases a doomsday clock.

Be warned that this build only has 19 HP, and even with 2 Armor you're not going to last forever, but on the other hand, enemies must focus on you or you'll just be able to tear them apart one by one.

[twst-charity]

I'm not altogether knowledgeable on how to bea mod but I want to help in some way. Is there anything I can do?

Hello! First off, thank you so much for your interest and for reaching out to us! Both our mod and contributor applications are currently closed, but there are still other ways you can help, both with this charity and with the situation in general!

The first is by submitting fanart and fic requests (once those forms are open) here with us (@twst-charity) by sending a screenshot/receipt of a donation made to one of three charities (Palestine Children’s Relief Fund, Medical Aid for Palestine, or Anera).

A very quick, easy, and free way to help is also by visiting this site and clicking the big, red, help button. If you’ve ever wanted to hit a big red button, now is the time to do so. This generates a donation to UNRWA to help Palestine.

Unfortunately, as many have heard by now, even these charities have been struggling to deliver resources to the people of Palestine due to blockades and frozen accounts, etc. Anera seems to continue to be successful in still getting resources where they are most needed, but the situation is constantly changing. We will be continuing to help raise donations in hopes that, as soon as there is an opportunity to do so, those charities will have the means and funds to make a difference.

However! There are still other ways to help Palestine and show your support. The first – and most important - is spreading awareness. Learn what is going on now and has been for the past 75 years. Be aware of propaganda and misinformation, whether purposeful or accidental. Archive tweets and posts and videos so that they cannot be scrubbed from the internet by those hoping to erase evidence of the genocide in Gaza. The importance of spreading the truth cannot be underestimated, especially with Netanyahu and the IOF increasing propaganda. Popular tags to do this include: #CeaseFireInGaza #CeasefireNOW and #FreePalestine!

Signing petitions and contacting representatives is also a good way to show your stance. Unfortunately, this does have some risk, due to organizations like c4n4ry mlssl@n (censored for safety) doxxing people who support Palestine.

Boycotting is another method that has been showing signs of success! The boycotting effort is being directed by the Palestinian BDS National Committee (BNC), which is the Palestinian leaderships of the global Boycott, Divestment, and Sanctions (BDS) Movement. Frankly, far too many brands and celebrities have shown support for Palestine for the average person to avoid all of them. So, a certain few have been picked to have the most impact.

Boycott: Starbucks, McDonalds, Disney+ (which means no TWST microtransactions, y’all!), Domino’s Pizza, Papa John’s, Pizza Hut, Burger King, AXA, Puma, Carrefour, hp, Siemens, Ahava, sodastream, and Israeli businesses. (Note from Mod Ryuu: This does NOT mean a general boycott on all Jewish businesses! Don’t be that person. You’re not helping.)

If you want to proudly show your support of Palestine IRL – and are safe to do so – a popular method is by wearing a Kufiya, the iconic scarf of Palestine. You can order an authentic Kufiya from Hirbawi at kufiya.org or from Kufiyas Australia at kufiyas.org.au If you’re not in a position where that’s possible, there are two other popular methods. The first is simply by wearing the colors of Palestine: Red, Green, White, and Black. The second ties into those colors and the history of colonialism in Palestine, where once it was illegal to fly the Palestine flag. Instead, people used the watermelon as a symbol to represent the flag. If you need a subtle means of showing support, the watermelon is the way to go.

Resources on the history of Palestine:

Netflix films: Born in Gaza (2014) dir. Hernan Zin, Farha (2021) dir. Darin J. Sallam, A World Not Ours (2012) dir. Mahdi Fleifel

YouTube films (FREE!): Tantura, Killing Gaza, Roadmap to Apartheid, Gaza Fights for Freedom, Born in Gaza, & Killing of Shireen Abu Akleh

Other films: The Present (2020) dir. Farah Nabulsi, Tale of Three Jewels (1995) dir. Michel Khleifi, Chronicle of a Disappearance (1996) dir. Elia Suleiman, Omar (2013) dir. Hany Abu-Assad, The Time That Remains (2009) dir. Elia Suleiman, Ambulance/Gaza (2016) dir. Mohamed Jabaly, Five Broken Cameras (2011) dir. Emad Bumat, 200 Meters (2020), Salt of This Sea (2008) dir. Annemarie Jacir.

Twitter link with these and more for those who still use the bird app:

Other threads (largely from the bird app) with information on how to help and what is happening:

THINGS NOT TO DO:

-Break the boycott, including doing things like ordering a bunch of food and then ditching without paying. You are only making life harder for the minimum wage employees doing their best, not the billionaires behind them.

-Do not spam the tags with posts not related to Palestine, etc. Keep your fandoms in their fandom spaces and so on. Unless, of course, you are doing a charity drive or something similar through your fandom.

-Be antisemitic. DO NOT harass or accuse Jewish people of being responsible for this genocide. Jewish people across the world have been protesting in defense of the Palestinian people even before this latest war began. More than 2/3 of people in Israel disagree with Netanyahu and the IOF based on recent polling.

[thebunnybabyblog]

⭐️Made a discord server! ⭐️

So if you are

1. A Snape lover

2. Like fanart/fanfic

3. Harry Potter in general

4. A cool nice person

5.18+

Please join! Especially if you are new to the fandom and wanna meet with some other ppl without having to just dm ppl, join! No extensive hp knowledge necessary. Come join whore slut island the water is pretty cool over here 😎

Anyone who likes or reblogs this I’ll send you a link! If you don’t hear from me please send me a message I don’t bite I promise!

[riveracheron]

hey guys have my wild magnus protocol theory that stemmed from me just overanalyzing the little bits of content we have

i think lena is a homunculus.

(spoilers for the pilot and jonny + alex’s post pilot discussion under the cut)

basically this stems from. a lot of places w small amounts of information so some of this might be stretches. But

1. a lot of marketing around protocol mentions the theme of “what does it mean to be a person?” which. leads me to believe there’s gonna be a plot around a protag being Not Human but has the heart or whatever the fuck. standard pinnochio or wizard of oz story. sure youre not human but ur a person bc of xyz free will or whatever

2. lena’s behavior in the pilot is So odd and almost inhuman in its extremely dull corporate jargon way. she literally uses things like “you can file a complaint” or “here at the oiar we….” (advertiser shit) , in genuine conversation. she doesn’t leave the building, either and has a Generic office party.

im genuinely thinking bureaucracy and the weird eldritch stuff of the oiar is Literally all she knows, not that shes being manipulative and evil in the trailer like elias; she doesn’t or maybe cannot question the whole. asking sam about the eldritch trauma thing, something something cant understand human emotions and why that might be troubling.

also “people like chocolate cake.” that sounds weird and something someone with only base knowledge of humanity would say.

she’s described as “an odd one” by jonny and that we will “get her soon”. im under the full belief that shes the non-human character of the bunch thatll yknow. have the Real Boy plot

3. homunculus specifically comes from all the alchemy shit around protocol, and homunculi are some of the most famous alchemical creations in popular culture, and i think she’s not. an entity creation. lenas too much of an important character to just be like. tied to An Entity, as a main character extremely tied to the OIAR, that entity would have to be the basis of like the entire plot of protocol; which i doubt theyd do.

the eye is so important to archives because the themes of archives was the consequences of knowledge- the entire plot was engineered around the Eye as the Main Character Entity and the Eye was written to be that in turn, sorta similarly to how Griffindor is the Main Character House (TM) of HP with its themes of bravery. i doooont think the oiar is tied to the stranger or flesh or any other simulacrum creating entities.

all that to say i think lena is a different kind of artificial human, one that’s manmade rather than entity made yknow?

we get glances of the people above her in status, theres mentions of an ephemeral “he” in the pilot, so. heres what i think

the He in question is an alchemist whose in charge of the OIAR (and maybe other branches but lets focus w the oiar). He created Lena the homunculus to be the middle manager of the branch in his stead; “programming” her to be as dull and corporate as possible to keep the employees in line or whatever. something something shes got a plot wrestling with that and her inherent lack of persondom

EDIT: totally forgot this part

adding that the first statement’s plot was about an abomination of corpses given a humanlike shape and coming back wrong which is. exactly what frankenstein’s monster is, and frankenstein’s monster is considered a homunculus.

with the anglerfish’s importance to season 3 of archives i definitely think the Arthur monster will come up again in some form, but maybe instead of Actually being In Podcast maybe its a parallel to the main characters’ story in the same way that many s4 statements were used to give us more information on how jon is working through it all. the zombie statement when he just wakes up comes to mind especially. maybe it’s a hint and echo of what a Character in podcast (lena) is

[lyinginahammock]

I think the Internet would be a funnier place if the fantasy text that defined our generation was "The Amazing Maurice and His Educated Rodents" or "The Wee Free Men" instead of "Harry Potter". If the hero of a generation was Tiffany Aching and not Harry Potter. If the mentor of a generation was Granny Weatherwax.

We'd certainly be better read and more knowledgeable, since not only is there a lot more Discworld than HP, but Discworld also makes you want to learn more about our world to understand the jokes in Discworld.

Also, there'd be actually good adaptations of Discworld (not looking at you, Sky1 Hogfather).

[vixensdungeon]

I got to thinking about all those "Dungeon Masters hate this one weird trick to destroy their campaigns!" type videos, which brought to mind weird exploits in general, which then combined with my other previous thoughts to become this post. I call it

The bag of rats is metagaming

The wee little babies out there might not be familiar with the ol' bag o' rats trick, so let your Auntie Vivian enlighten you. It was a very silly rules exploit in 3rd Edition D&D. You needed two feats (by which I actually mean eight feats), Great Cleave and Whirlwind Attack, and a bag full of rats. Great Cleave allowed you to keep making extra attacks every time you took someone down, while Whirlwind Attack allowed you to spend your whole turn to make one attack against each adjacent target of your choice. And here's where the rats come in.

Suppose that you were fighting against a single tough opponent, like some sort of big demon or whatever. You carry around a bag full of rats, which you then dump at your feet. You then proceed to perform a Whirlwind Attack, probably hitting and killing a significant number of rats (AC 14, 1 hp). This then triggers Great Cleave, allowing you to make attacks at your highest attack bonus against the big demon guy equal to the number of rats you killed.

They fixed this exploit somehow in v.3.5, but even before that I would've just said "no" to it working. But that's not what this is about, this post is called

The bag of rats is metagaming

Note that this isn't an anti-optimization post. But it is an anti-metagaming post. Quick reminder: metagaming is not "player knowledge vs character knowledge," at least not in terms of knowing which monsters are weak to fire and whatnot. No, it's about using the logic of "this is a game" to guide your actions in the game.

And what is the bag of rats if not that? Why would a character ever dump a bag of rats at their feet in battle without knowing about the mechanics of the game and this particular exploit?

The same goes for silliness like the peasant railgun, although that one also relies on ignoring the mechanics in favor of real-world physics when it's convenient so it's not quite the same thing.

Thank you for coming to my TED Talk.

[ominis]

I find it interesting that after people’s interaction with Ominis outside of the Undercroft where he gets upset with them, people label him as a “privileged Slytherin” akin to Draco Malfoy, but that really can only be taken from his comment about using his family’s ties to the headmaster against the MC. Beyond that, Ominis and all the Gaunts are far from privileged. 

By this point in the HP universe, the Gaunts are incredibly poor and they are very isolated from a lot of the wizarding world because of their aversion to anything Muggle (a view which Ominis states clearly that he disagrees with and isn’t proud to be related to people who have those views.) In the Half-Blood Prince, Dumbledore literally says the Gaunts lived in poverty due to previous generations having little sensibility when it came to indulgences and that was the case for a while before Ominis was born. All Gaunts lived in a run down shack that was a poor excuse for a home.

I think Ominis’s connection to the headmaster really just comes from them all coming from pure-blooded families, so they’re related in some way. The Gaunts aren’t very well-respected for a number of reasons. It’s only their history and their blood status that they really have to stand on (two things that Ominis rejects), not the current state of their family. His threat to use that only came from fear because of his perfectly understandable trust issues and the fact that one of his family’s secrets he wished to keep hidden had been exposed to a stranger without his knowledge. 

[soylent-crocodile]

Felidar (Monster)

(Felidar Sovereign by Zoltan Boros)

(I'm posting for the time being! Expect two posts a week right now.

Magic the Gathering has a habit of creating types of beast to make their settings more fleshed out and fill out the mechanical slot of "generic large beast" in different places- felidar, krushok, cerodon, thoctar... all are creatures with a defined look and name. They're fun targets for monster creating, and I'm generally looking to make these Magical Beasts to keep it interesting. I started with Felidar because, well, I love big cats. As with all my creatures, I tried to give them a fun plot hook.)

CR6 NG Large Magical Beast

Felidar are large catlike predators typically found in mountainous regions, where they use their powerful roars and expert climbing skills to hunt down and kill prey. Felidar are more intelligent than an animal, though not by much- they have no true language, and prefer to live in simple family units or just hunt alone. Perhaps their most intelligent aspect is their knowledge of magic and magical places, as well as a capability for empathy- a felidar who sees an injured humanoid is willing to provide healing, and one whose trust has been gained will often lead humanoids to places of great magic potential- or to the location of a dangerous interloper or creature that needs to be dealt with for the good of the mountain.

Felidar are beings connected to the Plane of Positive Energy, and a vivacious life flows through them. One pint of felidar blood can be used as 100gp of materials to craft any potion of the Healing subschool. Felidar never give this blood freely, instead using their roar or Cure Moderate Wounds spell-like ability- some unscrupulous mages take this blood by force, typically injuring or killing these majestic animals.

This large cat has a splendid rack of antlers upon its head, its horns and insides glowing with a vivacious life.

The first roar startles; each enemy within the area of effect must make a Will save or trigger an attack of opportunity.

Misc- CR6 NG Large Magical Beast HD7 Init:+3 Senses: Perception:+13, Low-Light Vision

Stats- Str:21(+5) Dex:17(+3) Con:17(+3) Int:5(-3) Wis:18(+4) Cha:16(+3) BAB:+7 Space:10ft Reach:5ft

Defense- HP:60(7d10+21) AC:19(+3 Dex, -1 Size, +7 Natural) Fort:+8 Ref:+8 Will:+6 CMD:28 Immunity: Energy Drain, Curse, Death Effects

Offense- Bite +9(1d8+5), 2 Claw+10(1d6+5), Gore +4(1d8+3) CMB:+13 Speed:40ft Special Attacks: Pounce

Feats- Skill Focus (Intimidate), Weapon Focus (Claw), Power Attack (-2/+4), Dazzling Display (Claw)

Skills- Climb +17, Intimidate +9, Perception +10 (+8 Racial bonus to Climb)

Spell-like Abilities- (Caster Level 5, Concentration +8)

Light (Self only) /at-will

Clairvoyance/Clairaudience, Cure Moderate Wounds 3/day

Divination 1/week

Special Qualities- Roar, Vigilant

Ecology- Environment- Mountains (Any) Languages- None Organization- Solitary Treasure- None

Special Abilities- Roar (Su)- A felidar’s roar is imbued with supernatural power. It can make one of these special roars three times a day as a standard action; each successive roar has a different effect depending on if it’s the first, second, or third roar of the day. Each roar is a 60ft cone with a save DC of 16. The DC is constitution-based.

The second roar harms, dealing 7d6 sonic damage to all creatures- ally or enemy- within the area of effect, Reflex save for half.

The third roar restores, healing all allies within the area of effect 7d8 damage and removing the shaken, frightened, or panicked condition.

Vigilant (Ex)- A felidar is never considered to be flat-footed.

[utilitycaster]

Jumping off the Bell’s Hells vs. Mighty Nein question…what does Bell’s Hells need most right now? What can Sam bring to the table that would make BH as complete as MN? Is it just “a life cleric” for maximum healing, or do you think there’s something better out there?

Hi anon,

You would need a drastic reworking of the entire party. One person swapping out can't fix it.

I'm going to stick to combat and not more general stuff [high INT doesn't matter much in combat unless that's your casting stat but GOD it's not optional in a longform campaign] but in short:

You're fucked by having two (mostly) sorcerers in a party. It's one of the least versatile classes by far; all the glass cannon of a wizard with a fraction of the utility. As my url indicates I am nearly always a caster main but also very much NOT a casters as blasters person and sorcerers are basically designed to be this (except divine soul love u dariax).

melee line is strong so that's pretty good, though Ashton's stuff is unpredictable by design and as a result they're a touch behind Yasha, and the fact that Chetney runs the risk of attacking the party in wolf mode is something of a liability that the Nein did not have.

None of the melee tank line has quite the range the Nein melee line had at the end: Yasha could fly; Beau was a monk; Fjord had a trillion short range teleport options and could also if necessary fly. Ashton, Chetney, and Orym have comparatively limited options and Ashton's can't be relied on. I love Ashton's subclass but whenever you can't control the situation you cede something in combat to someone who does. I do actually own a copy of The Art of War for non-douchebag reasons and I'm pretty sure it says that.

Really, hexadin is literally one of the most bonkers good verging on broken combos and if you don't have one you are probably at a disadvantage over a party that does.

For all I am a Rogue Hater Of Some Renown, they are very good in combat scenarios when on a party with a strong melee tank line. Burst damage is overrated but man it is kind of great when, simply because your melee fighters are doing what they do best, the rogue can eliminate a handful of d6s worth of enemy HP for free.

Fearne would need to be played very differently. This isn't a judgment of how Ashley plays her - I love her choices and feel they're in character. However, to compete with the Mighty Nein she would need to be played rather more like Jester, with a more even split of offensive and healing. She can do this, and sometimes does, but that's not her usual style.

The Nein had two main healers plus a hexadin plus Yasha had a little; Bells Hells has only one person with any healing at the moment.

The Nein had two people who could cast Counterspell. Laudna has no one to counter Caleb when he counterspells her counterspell.

This is very subjective, but also, I think the Mighty Nein really played to a lot of the cast's strengths mechanically, and Bells Hells are an expansion of their comfort zones, which is a good thing but it also means they play the Nein more optimally.

Anyway I think full cleric (most subclasses will do) is probably the wisest bet for Sam and if he can throw in a high INT score (knowledge cleric? wizard dip? Just a smart guy?) that wouldn't hurt, but yeah the Nein are still winning this one unless you replace like half the party.

[nogacheloveka-blog]

The Bad Sanses somehow ended up in the Backrooms. №8

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This is the translation of the another post from Russian to English. I understand English, but it is very difficult for me to write in English, so I asked chat GPT to help me. I have corrected some parts, but there still may be mistakes.

I enjoyed working with these round shadows, which emerged from Nightmer's and Killer's previous encounters. I sketched a few personal designs for the rest of the crew and will follow them. Now, I have a single document with the Bad Guys' colors (and wow, I didn't expect Dast to have so many personal colors, even though he shares clothing colors with Horror).

Error is still quite grumpy after losing his scarf. He has become more irritable than usual and often seeks solitude. However, when he does so, he spreads his threads throughout the location to keep the group together. There were an overwhelming number of hostile creatures on this level. In addition to the Hounds, the group encountered frightening faceless humans, quite friendly moths, and friendly Smilers, who peacefully followed the group.

Moths, it seems, were even mentioned in the notebook under the ominous name "Deathmoths" .

Deathmoths Male specimens are harmless, while female specimens are dangerous and aggressive. They nest on level 5. On other levels, their danger varies. One female requested gathering their wings. I'm not sure what she intended to do with them, but she was grateful. Suggestions: - Avoid contact and do not behave aggressively. Prohibitions: - Provoke Deathmoths and invade their nest. ---------- I like them. I lured one with Almond Water, but Killer, the jerk, immediately gathered EXP from it. I have theories that they react to monster magic, but I can't confirm it yet. HP: 10-50 (males), ? (females) EXP: 10 (males), ? (females) Items: none. They do not turn into dust. The pollen on their wings seems to be monster dust.

Faceless, despite their human appearance, did not deserve mention. However, in the notes, they mentioned Faceless Children, who caused slightly greater concern (Dast and Killer were definitely not eager to meet this specific subspecies).

The group also encountered a hungry Skin-Stealers. It is unlikely that their group would have been interested it for any reason (it seemed to be staring at Nightmer's filth, perhaps assuming it was human skin), except for scientific interest, to expand their knowledge.

Skin-Stealers It causes chills from its victims' remains. They tear their victims apart and strip their skin and eat it. Nothing else about humans interests them. They hunt us. And then they pretend to be us. It's better to keep your distance from anyone who speaks strangely. Suggestions: - Retreat slowly and calmly if you encounter it. - Check everyone you travel with for red blood. Prohibitions: - Believe in uncommunicative or people with nonsensical speech. - Provoke Skin-Stealers in its neutral form. --------------- I can't predict any reason for direct attack from them. But it's not difficult for us to make the first move. HP: 100-150 EXP: 22 Items: strange, that no one here turns into dust. After them, personal items remain. Perhaps they took them with the skin.

Everywhere on this level were pools of negative similar to Nightmer's. Killer even seemed to be tempted to touch or even lick it. Horror kept an eye on him to prevent any dangerous actions.

Level 3 was filled with grates and prison cells, extended cables, sockets, dangling wires, moving mechanisms, gears, and occasionally collapsible bridges in illogical places. It was like a prison on an electric station. However, there were also many useful items, such as radios on batteries and radio detectors, which the crew distributed among themselves. This was similar to what they found on level 2, but these finds were generally useful.

They encountered various types of generators. They found solar panels in rooms with garlands or other lighting, as well as strange futuristic noisy constructions. The noise accompanied them throughout their journey, but they surprisingly quickly got used to it.

In addition to pleasant finds, they encountered quite disturbing ones: remains of a fire, bedding, bloodstains, and human skulls. These were found very often, indicating that people were very numerous in this place. Will it continue like this and will they encounter more human traces with each level? Nightmer couldn't fully orient himself using his aura of emotions due to the flowing liquid negativity surrounding them. The only way they could detect the presence of others was through Error's threads, which he sent forward. Fortunately, they encountered only monsters. If, of course, people (some of them tried not to think about the child-demon with a knife) did not play with them.

Nightmer insisted on focusing on the exit from this place, not allowing frequent breaks. He was concerned about the impact of pure negativity on his team's aura. (He definitely noticed that Killer and Horror were much more calm in the face of negative influence for some reason). In addition, he definitely did not want to see with his own eyes HOW this corruption could affect the local people. Especially if they could sometimes be as reckless as Killer, trying to drink or eat something out of curiosity.

Something favored them, and behind one of the doors, they were greeted by panoramic windows and the familiar buzz of office lights, which seemed like silence after the roar of machinery. Level 4

Nightmare belongs to Jokublog Killer belongs to RahafWabas Dust belongs to Ask-DustTale Horror belongs to Sour-Apple-Studios Error belongs to CrayonQueen Cross belongs to JakeiArtwork