#id like to see that level of storytelling again

[eyeofthetaiga]

its a shame the tales of series fell off

i rly think itnstarted going downhill the moment they were making those mobile games

didnt help that zestiria's story was kinda lackluster imo i liked the characters well enough but i was kinda disappointed w the story and berseria didn't interest me unfortunately

whenever I think abt berseria i think about the piss colors that one animation studio loves to use ahfksjd

and then arise kinda came out sisnt hear much abt it

tbh i feel like the problem is also theyre often on playstation consoles which seem rly expensive for not a whole lot of game choice 😭

ik the switch isnt as graphically capable but i wish they were on there maybe id buy arise

anyway maybe I'll play toz tob and toa one day or maybe theyll release a more interesting game soon

[numberonemoefan]

I was talking to my dad yesterday about fallout new Vegas for around an hour straight, and mentioned I was planning on playing fallout four sometime, cause my copy of fallout sometimes gets a glitch for an hour that just resolves itself later, and he, while playing fallout four, basically BEGGED me not to play fallout four LMAO

it's so funny to me cause he bought me fo3, fnv, and fo4 and I started on nv and I'm apparently making him want to start nv again every time I ramble about it because he, quote, "would not be playing it [fo4] if there weren't mods"

probably still gonna try it eventually, but I doubt I'll love it as much as I love new Vegas (partly just cause I reallllyy love new vegas. also hi to my sister who followed me for some reason. why did you do that? now you just get sick of me talking about fnv in real life and online/lh)

but new vegas's level of detail is insane to me. all the little character interactions. like, a large majority of the groups/types of NPCs who aren't currently hostile have custom dialogue for when you aim your sights on them. I wouldve never thought that there'd be stuff for that. for scientific reasons, y'all should put a gun to y'all's companion's heads LMAOO. but there's seriously so much fucking detail. like, you can just absolutely fucking fail a stat check and still try to say it and you'll just say it like a fuckin loser. there's so much to explore, like the other day I found the mountainy area with the super mutants on accident. I saw there was an area on the map without any places id discovered, and I was like "y'know what? lemme go check that out." and when I saw TREES for the first time, I was absolutely thrilled. the storytelling in the locations is awesome (and occasionally very heartbreaking) too. gonna put this under a read more line cause it's spoilery for some lore, some of it is sad, and also this post is already long

for example, this is like a stupid one, but apparently the entire H & H tool company was FUCKING. if you read through the terminals, you not only get perhaps one of my favorite lines ever, which is

but you also see multiple people making emails that say something along the lines of "I told X I needed to do something. bring the moon rocks and dino head grabber ;)" (not an actual quote, but the objects are just as ridiculous)

AND THERES LIKE THREE OF EM AND THEY'RE ALL CHEATING ON THEIR WIVES/HUSBANDS WITH AN OFFICE AFFAIR PARTNER WHILE ALSO CHEATING ON THEIR OFFICE AFFAIR PARTNER.

this is probably the saddest/most disturbing one, but there's a vault that was overrun by spores that infected the residents, vault 22. I was finally getting somewhere, and I found a room with a key card in it. yay!

it was a bedroom. there was a baby carriage in the room. there were two spore carriers (essentially plant zombies) which I killed, then kept looking through the stuff in the room. there was a type of spore person I hadn't seen before that jumped out of me. it was called a runt. IT WAS THE FUCKING KID. after I killed it I just spent 7 minutes or so just staring at my screen cause. what the hell.

the empty houses are so haunting to me too. like all the different junk items strewn around tell a story if that makes sense. like, toy boxes, or houses with absolute loads of empty alcohol bottles in them. it's weirdly haunting.

nipton is also such a haunting location, obviously with the crucifixions and all. going into the houses and figuring out the legion bombed the fuckin bodies was so horrifying and interesting. according to my dad, they do stuff like that in real life in wars sometimes.

there's just SO MUCH STUFF idk how to put it all into words

play fallout new vegas guys

[salmalin]

I Wanna Talk About "Comments"

IMG ID: Yknow go figure you’d abandon this for a popular fandom… goes to show you just write for attention and instant gratification. May as well just delete this. It’s clogging up space. To do all this and walk away for mainstream games is so typical for people like you who claim to be in it for the art. You’re in it for the ratio, you’re in it for your massive ego, so just delete it.

I've been getting a few comments like this lately, and this one is honestly the least biting, but I've been seeing enough of them that I've decided to post this.

I've already deleted this "Named" Anon Comment off the fic, and I'm not going to reply to them, but I wanted to take a moment to talk about this mentality, and why comments like this make no sense.

Basically: They're angry that I'm taking a break from this fic from a small fandom—a fic they've never interacted with—while I'm also writing another story for another fandom that happens to be bigger. This bigger fandom fic has (despite being in first-person with a non-linear storytelling style, famously hated formats) gained a bit of attention. Which is fine. That happens.

So let's talk about why this comment sucks, and why it fails at every level to be any form of criticism, constructive or otherwise.

"abandon this for a popular fandom" Everyone can see that this fic is marked as incomplete. Whoever this is, they chose to click on an incomplete fic that hasn't been updated in eight months—only eight months. A drop in the bucket, really, and the time I went between chapter 5 and chapter 6 was over a year. This is on them. They do not get to put this on the writer. At any point they could have stopped. At any point, they could have closed the fic. They knew this from the get-go. They did not. This was their decision, and they're trying to blame me for their despair. They made it through 245k before they reached this point, and I know because they commented on the last chapter specifically.

"you just write for attention and instant gratification" "Instant"? I don't think this person knows how writing works. Like, on a fundamental level. This story started getting posted in 2020, with my most recent update this year (2023), and they think writing and posting something is looking for "instant gratification". Bold to assume this is "instant". (Bold to assume we have any control over it at all.)

"May as well delete this. It's clogging up space." AO3 is only limited by its server size, and my fic is a drop in the bucket. It is not taking up much in the way of space. Besides, just because something is unfinished does not mean it doesn't belong on AO3. That's why you're allowed to upload chapter by chapter. That is a critical function of the website. It's also an archive, which means it's designed to hold information, finished or unfinished. Again, shame on the reader.

"You're in it for the ratio; you're in it for your massive ego." These are not only assumptions, but if this person is really so opposed to the idea of people doing things for attention, they should ignore children when they need food, only read published novels that are obviously written in a desperate grab for money, and never go on AO3 ever again. If writers didn't want attention, they wouldn't post online for free because they'd just keep it to themselves. And if commenters didn't want attention, they wouldn't comment. (But then would we even have a fandom, if no one's talking to anyone else?) Is this the attention they wanted? Probably. I've found that people like this seem to thrive on the misery they inflict on others.

If y'all care to know why this person was so abysmally wrong in this specific context: (if not, just skip to the end of the list.)

This fic that they're complaining I left for a bigger fandom? I actually left that bigger fandom for this fic. That "bigger fandom" was the first video game I was ever obsessed with. It was 1997, and I wasn't even allowed to touch the console. My brother destroyed the final disc in a fit of rage. I've never even beaten the final boss. It has been 26 years, and for a solid 15 of them I was desperately trying to figure out what I wanted to write for the pairing that changed my life. This fic that they're complaining about me "abandoning" Fires of War for has been rolling around in my brain for longer than the media for Fires of War has even existed. In fact, when you search my username here on tumblr, an ask I sent another user laying this out is essentially the first thing you see. (At least, right now.) In fact, my current user pic is from Fires of War. I did not change it because there's no need to.

Fires of War is actually still in progress, and they would have known this if they read the other comments on the same chapter they complained on. I originally took a break from FoW due to stress, and because no matter what I tried, the next chapter just wasn't working. After a break, I realized why—the outline was broken and needed to be adjusted. Meanwhile, the other fic I'm working on to relieve that stress is much, much easier to write. In my eyes, it's much lower quality, as well. It requires fewer stages of editing. The words flow easily because they're much closer to my speaking voice. I'm not constantly researching cultures I know little about for fact checking and world building and (I shit you not) intercontinental politics. (I once researched the GDP, climate, and economy of Spain in 1986 for several hours and proceeded to have a three hour debate with my editor about a plot point. Yes. Three hours.) Oh, and I don't have to write anything in Iambic Fucking Pentameter. (Yes, that's a thing in Fires of War. They are complaining that I "abandoned" a story that has bits of dialog in god-forsaken Iambic Pentameter. Even at my peak, I wrote 8k in two weeks. But with my current "popular" fic, I can whip out 14k in one. That's how much easier it is.)

I want to turn those "ratio" stats off. I've mentioned this to people a few times, actually—I wish there was a way to turn all stats off on the Archive. They actually give me anxiety. I don't want to know how many comments are on my fic, or kudos are on a little obscure piece. I think that information should only be accessible to the writer, like Tumblr follow counts.

Literally talk to me for three seconds and you will be sick of how into the art of it I am. Holy shit, I cannot shut up. I will include required reading. I will rant about the details I put in for plotlines ten chapters out. I will give you a crash course in tone, word choice, and counting verbs. And yes, I count verbs! Holy fuck I am autistic as hell and this is my special interest. I love writing so much. It's my favorite thing in the world. Please stop my I CAN'T STOP I LOVE WRITING SO MUCH GOD IT'S THE ONLY THING THAT KEEPS ME FUCKING SANE. So you can imagine how misguided I think someone is when they say I'm not into the art of it. It just exposes them as someone who doesn't know what art is.

I'm a hermit who doesn't really go online much aside from using Discord as a free texting app because for some reason every texting app I've gotten has been broken. I legit do not like attention. I talk to like four people a day outside of work. I don't even like it when people complement me too much. Even if I went above and beyond, just one sentence is more than enough and move on, please. It's good to know my actions have had positive consequences, because that's crucial for my brain processing said consequences so I can continue said action in the future because I know I didn't do something wrong, but repeated praise makes me uncomfortable. It took me a long time to understand this about myself. This seems antithetical at first, but I do like the comments that break down the themes, execution, etc. in my fics. If they're breaking things down, moving to point to point about parts they enjoyed, there are giving me critical feedback. They tell me what thy enjoyed, and what was picked up. It's extremely useful feedback to know what they enjoyed, and what stood out to them. It helps me write better stories on the future, and hones how I get my point across. Besides, what is art that doesn't spark innovation and thought? It is forgotten.

The strongest hate is born of love—misguided though it may be—and this person has made that clear. Obviously they care about this fandom or they never would have commented like this. But if they knew more about people and less about what they want everyone to give them, maybe the spaces around them would be safer for the people in their lives—or the people they brush against online.

Comments like this often make people not want to write their fic.

Thankfully, I'm actually am in it for the art, so they might be going out of their way to make the lives of everyone around them miserable, but they haven't achieved their goal here.

However, there are a lot of writers who critically need feedback; who need this positive reinforcement. It's also why it's so important to tell writers why you enjoy their work. Even if it's something small like "I like your word choice" or "I really liked this line" or "I can't wait to find out how they resolve this"—that's feedback more valuable than we can really quantify.

"I like your word choice."—The way you pay attention to the words you use is working with the tone.

"I really like this line."—The way this line is formatted is very memorable and hits better than the others. It may be good to pay attention to it to find out why.

"I can't wait to find out how they resolve this."—You have gotten a good grade in suspense, a thing that is possible and reasonable to achieve (or however that meme goes).

I am constantly learning. I am constantly growing and changing as a person and a writer, and other people are critical to this. Sitting in a room and shouting will not make you better at making jokes, and shoving your writing in a corner never to see the light of day will never give you the tools to communicate with other people.

Sometimes I feel like people like this *points to the top of the page* don't want to learn that lesson, because of the painful reckoning with their actions it will entail.

If this is you, or you have done something similar, I recommend going through, finding your old comments, and deleting them yourself, or even apologizing if you can. Clean up your own mess, so people like me don't have to do it for you. This is a public space. Act like it.

[peekychu]

hi, ive loved your art forever, finally working up the courage to send an ask ahshdjfjf

when i was a kid i was really attached to the pokemon anime and i remember that one episode about the charmander being left all alone in the rain, and then being saved by ash and given a chance to recover, i remember projecting so hard onto it and wanting to be given that chance as well, to have someone save me like that. anyways, your art has always made me Feel Things, theres a very sentimental quality to your art and the way you design characters. i connect a lot with your sadder stuff as well. youre very good at storytelling in your work, especially that piece with ray about wanting to return to the places in your childhood but not ever experiencing them the same way. man, you hit that feeling right on the head.

anyways, where was i going with this. i struggle a lot with trying to reclaim some parts of my childhood, it took me a lot to even remember that i projected so much onto that charmander. but seeing a pikachu be so.. i dont know, happy about connecting with pokemon so much, it just, it means a lot to me. i used my imagination as escapism and id like to try and reconnect with it. i am using your art as a guide and as inspiration.. i feel like i can get close to that again.

i hope animal friends brings you joy and i will be so happy if you choose to share any of it. and im sorry about your job, ive been in that exact situation, stay strong

sincerely, one online animal beast to another <3

Oh my GOD, this ask is so touching idek where to start answering 😭😭😭 Wow, thank you!!!

Instant follow btw, ur drawings are so dynamic and sensory, and HOLY moly your anatomy skills 🤯 I’m super honored!!!

I honestly forget ppl ever see my more sad/melancholy drawings, I wasn’t expecting it to affect me so hard hearing someone mention it xD Drawing is one of the few vessels I can properly channel my emotions with, and there’s a lot more raw stuff I don’t share online. I never know if the catharsis I feel drawing the Heavier stuff translates, because I still center those drawings around silly animals xD

I’m so happy you were able to rediscover your connection with Ash’s charmander!! That episode always made me emotional too 💔 I can’t say where my lifelong fixation on Pikachu really began, but my mom told me that even before I engaged with anything pkmn related, I was just immediately enamored by seeing it at a store or on TV xD

Eventually she took me to see Pokémon 4ever in theaters, and I vaguely remember being instantly ENCHANTED by the little short movie before the actual film began. Those animated shorts of Pikachu with all its friends, no humans attached, were always this ultimate comfort fantasy for me to watch xD

As my identity and personality fluctuates, I always find it comforting being grounded in my connection to Pikachu. The episode where it refused to evolve stuck with me on a deep level too haha.

ANYWAYS UHH I can’t thank you enough for your kind words!!!! I am holding ur paw, you stay strong too!

[a-student-out-of-time]

Let me try and break it down as best I can (Im sorry for speaking so much, but I do enjoy these sorts of talks.)

I don’t have any issues with Teruko. Yeah, she’s an edgelord, but I do tend to have an affinity for Fangan protagonists who are on the crazier side (shocking, I know), not to mention that I understand why she is that way; her life is fucked.

Xander is fine and all, but nothing I haven’t seen before, but I know Aliza likes him, so I’m not about to badmouth her boy.

Charles is fine because he reminds me of post-DR1 Byakuya, Still a bit of a self-entitled jerk, but cooperative and a major help when it counts, and I like that.

Ace takes every personality trait I hate from both Kazuichi and Leon and mashes them together in one character, and I utterly despise it.

I admit that it is impressive what Despair Time is doing with Arei, even though it’s probably not gonna amount to much, because it bothers me that so many killing games, including the source material, DONT DO THIS. The only time Danganronpa built up a character to be an asshole, then redeemed them in a way that i thought was done well, was Fuyuhiko. And when Arei showed signs of trying to do better, I really admired that, so now I’m cool with her, even though I hated her at first.

Rose is an insanely uninteresting character among everyone else in this cast, and I don’t know why, but i also don’t want to badmouth her because I know Paper-scrap likes her.

Hu is okay, but she reminds me of an over-friendly relative that I have in real life that I don’t really like being in the company of. Like, she assumes things about me, and then spreads that misinformation. Also, the stuff that happened with Nico made me cringe so hard. Like, I GET that she didn’t understand the proper etiquette for this shit, but I am in this scene and I don’t like it.

Eden is okay, but whatever.

Levi? Also okay, but I’m scared of him.

Fuck Arturo, he’s just really annoying for no reason.

I actually really liked Min, and she had a really interesting design, despite its plainness, but she died way too goddamn early and that was kind of a turn off for me (as in a turn off for the series, not…whatever else that could be construed as)

David is David, we don’t really need to say anything here. But yeah, he’s a pretty okay twist villain for me.

I don’t really know what to say about Veronika, she’s just sus as fuck.

I want to like J, but something just sort of turns me off her. I guess she’s just the wrong sort of stubborn? I dunno…

Whit id a little annoying, and I’m struggling to figure out what purpose he serves in the narrative. He feels like the game’s Kokichi, just…less important?

And Nico, while again, I empathise with Nico, kind of freaks me out.

//Yeah, I can understand that

//I enjoy DT's cast overall and I appreciate their depth, but I get why someone would find a lot of them annoying or just okay. Of course, it's still Danganronpa, so some similar character archetypes are bound to crop up in some capacity. It's the story's style of intrigue and overall mysteries that I find more engaging.

//I feel like, if you look at DT on a purely surface level, it loses a lot of its charm and it does end up feeling samey in a lot of aspects. But the foreshadowing and subtle mysteries with the setting, the characters, the storytelling and even the Tumblr blog are so cool and they hint at much more going on than just another killing game.

//But even with that in mind, yeah, this cast can be really annoying sometimes, so it may hamper the experience ^^;

//Point is, I like what they're doing and I wanna see where our story is heading regardless of my predictions.

[luxrayz64]

list of gripes i have with tears of the kingdom and reasons why I think it's not goty material

has no respect for my time. great fairies and hestu are the most blatant example of what I mean. if sonic frontiers could patch out this exact issue (adding an upgrade all at once button) there's no reason why a whole 5 years and a sequel later I still have to watch hestu shake his ass at me 7 times in a row instead of just handing him every korok seed at once. yes there's a skip button. no that's not good enough

filler content. awesome big map you've got there. and it's all just copy pasted shrines and koroks? wow this seems like a good use of my time (<- lie)

racism. I don't have the energy to elaborate im just bitching but like (waves at ganondorf)

imperialism. rauru is a coloniser and I hate that the story expects you to align yourself with him and I hate that none of the other leaders/sages are on the same level as himband I hate that he made ganondorf bow to him too.

misogyny. they damselled zelda again. complete lack of care for her character. she doesn't even get to be interesting in this one because the memories are too focused on (poorly) establishing the ancient conflict and rauru.

lack of consequences. link gets his normal arm back even though we were told at the beginning it was unsalvagable. zelda gets turned human and suffers no loss of memories or self she's just fine. why couldn't we do this earlier if all we needed was for mr and mrs imperialism ghosts to show up.

lack of any linearity. don't raise your eyebrows at me, I found the spirit temple way too early because it wasn't gated off and when I could finally do the kakariko quest that is supposed to lead to it I got pissed the fuck off because I'd already completed the quest and it was useless to me. why is it possible for me to reach that quests conclusion without the start? it's like hanging a fruit over my head and when I finally get to eat it it's just foam. gating off parts of your game until requirements are met isn't the fucking devil, it's basic game design.

storytelling in general. the lack of an active plot makes the story feel lacklustre. this game is better at it than botw was at least but the fact that we get to see so little of the main antagonist (because the past conflict, our main source of information/characterisation is seen through zeldas extremely limited pov) sucks. I like it when ganondorf gets to be a person actually. also watching the same cutscenes at the end of every fucking dungeon come on

dungeon design. we were promised a return to proper dungeons and we got Not That. better than the divine beasts for sure, but still ass. short, easy to navigate/cheat in, and unfulfilling. the thunder temple felt the most like a real dungeon, and it ended way too soon. shrines also suck btw

shrines also suck btw. I hate having these singular puzzles that I have to complete in order to get hearts. they break up the flow of gameplay and feel like a chore. id much rather just find fucking pieces of heart/stamina things. I'd rather just have real dungeons instead of breaking them up like this. why are there MORE than there were in botw

the way the gerudo treat you. misogyny AND racism. it feels uncomfortable the way you're treated by them, even though everyone here knows you're their saviour. gender essentialism is a fucking nightmare and I like to not have to deal with it in my games, thanks.

the game doesn't know what genre it is. it wants to be an open world/sandbox with the emphasis on ultrahand and building contraptions. it also wants to be an adventure rpg with puzzle solving and strong story focus. personally im not a fan of sandboxes - ultrahand did absolutely nothing for me when I wasn't being forced to use it. you can't have your cake and eat it too - the physics engine at play here is jaw dropping, don't get me wrong, but I bought zelda, not fucking gmod

it's too big. there's nothing in it. everything is copy pasted. it was fun to explore the first time around, but now I've seen everything I have no reason to visit it again. the depths and sky islands promised more, but end up just being more of the same.

sages being mapped to A and also forcing you to run up to npcs to use them. don't do that. why did you do that? why did you think this was appropriate. this complete mishandling of the sage abilities pisses me off the more I think about it. it shouldn't have gotten past testing. it's frustrating and I expect better fucking controller management from nintendo. jesus christ. you had 5 years and that was what you came up with?

5 years down the line, they did not fix any of the problems botw had. some things were handled a little better, some things were handled worse. nothing was fixed. if the next game is in the same map again, I'm skipping it I don't fucking care. if it's not, they'd better lose the fat - I don't want to have to wait 7 years for every game.

i can and happily will elaborate more on any of these points. story especially, all my gripes with the story and its presentation can't be boiled down to dot points. im tired and feel like bitching about how much this game frustrated me so it's dot points. I probably forgot something or another that pisses me off about it. I am probably biased, and I am definitely bitter. this game was disappointing, and the disappointment makes me frustrated with it. pikmin 4 sweep

[gwarden123]

Watched The Thirteenth Floor from 1999. Interesting how a lot of these turn of the century science fiction movies use the trappings of film noir as a basis. And I don't think they're all doing it because Blade Runner did it. Probably something to do with all the mid-century science fiction writers that these movies are either inspired by or adapted from having stints writing detective books to pay the bills. And a murder is a good setup for a story.

Enjoyed it. It losing the Saturn Award for best movie to The Matrix is correct. It's a decent movie, and while it doesn't feel old, The Matrix feels noticeably more modern. Like seeing the way the future would go. Also, even though they cover the same ground, "what if everything were a simulation", they come at it from very different angles. The Thirteenth Floor, "what if you tortured the NPCs in your videogame". The Matrix, "what if *I'm* a simulation??". And The Matrix, I feel, simply mines a richer vein for drama and intrigue. It leans more into the paranoia of the premise. There are actual consequences for the protagonist learning the truth of their world.

And, I can't blame the movie too much, since it's from 1999 and based on a book from the sixties, but it's funny how certain it is that humans will turn to complete monsters if they get to play god over simulated people. I know the book was probably thinking more of the idea that the Nazis turned people into lampshades and soap because the systems they got from IBM for cataloguing people turned their victims into meaningless numbers, and that they were therefore disposable. This idea pops up a lot in post-war American fiction. That modernity and barcodes and ID numbers are going strip away people's humanity and reduce them to a number. In the book, the digital city is set up to model marketing trends, that's why I think that's what it's aiming at. But to modern sensibilities, even from 1999, I would say, the obvious analogue is a videogame. And the idea that everyone who trapped their Sim in a pool and deleted the ladder behind them would turn around and try to do the same to others in real lief is laughable. People definitely did worry about it, in the same way that they worried about TV before that, but it's still very funny.

Could have done without the threat of rape at the end. Again, I understand the thesis of the film. Getting to be lord and master over simulated people unleashes all of man's baser impulses. Still. Felt pretty gross. Felt like a big jump in the level of violence shown by the rest of the film.

Pretty good looking film. Clear distinctions between each layer of the simulation. Although, I noticed a goof. The newspaper at the end says Monday, June 21, 2024, but it's not! Not a Monday, it's a Friday. Even the spellcheck popped up telling me it was wrong. Movie cancelled!

But, yeah, it looks good. I was curious if they were going to show the "real" world, and what they would do if they did. But they kept it fairly subtle. Some modifications to the LA landscape, but other than that everything and everyone looked more or less as they would have when it was filmed. Possibly made easier for themselves, when I was skimming through the movie again, the "current day" of the rest of the film does have a slight 80s look to it, even though the computers clearly don't, nor are they dressed up to be. Whereas, "2024" has a more fashionable, but casual look. Has a very "Garden of Eden" look too. There's all this golden light and natural tones, open airiness with the wind blowing in through open doors and green plants in the background, the wife character in this skin tone satin that moulds to her body in a way that reads as her being naked without having any actual nudity.

Lot of similar visual storytelling used to convey ideas before they come into play in the plot. Like, editing back and forth when the hero first goes into their simulation, so you already have the idea that the simulation he displaces might travel up out of their home simulation. Sometimes this is a little too clearly conveyed? I kind of had the idea that the hero was in a simulation from the way the movie repeated certain elements between "1937" and "present day" in the opening scene. Took some of that intrigue away when the hero reached the edge of the game map, something that The Matrix retained.

But, yeah, I overall recommend it. It's perhaps a little more plain than Dark City, solid but plain, but it's still interesting to watch. I can see why it helped inspire Inception, particularly with the editing between layers of simulation.

(Wtf, it received mostly negative reviews?? It is not that bad. Not spectacular, but mostly what it's missing is some tension. Really not that bad.)

[branded-perceptions]

Our global tendency of focusing more on

🌛🛐 social signalling, group-identities, mythos stories, social rewards, mind🌛 constructs and reputations

than introspective logic dialectics of most basic shared causal realities relation🌞 to all our quite similar life force needs is like a

🎶WHITE FLAG - DIDO

towards how during last millennia the interplay of our by contrasting worldwide old world order elites and Pythagorean Illuminati (📚ISBN: 9781447886891) influenced the motivational sense-making bricks' emotional navigations we build our minds with as we as children "fall" into our life and social context

towards the out of that via our technologies of interconnectivity evolved globalisation of what we perceive as common sense

(🎵I KNOW YOU THINK THAT I SHOULD'T STILL LOVE YOU)

directs🧠👅🧠 our shared common wealth

(🎵OR TELL YOU THAT)

whose socially constructed motivational incentives are detached from our most basic sympathy of seeing ourselves reflected not in any mind constructs but in all other humans' most basic life joys and to that tied causal needs

(🎵BUT IF I DIDN'T SAY IT, WELL, I'D STILL HAVE FELT IT)

that we try to manage via how we make sense about the simultaneously from that distracting and for that needed social constructs

(🎵WHERE'S THE SENSE IN THAT?)

whose over-complexifying cult structure habits

(🎵I PROMISE I'M NOT TRYING TO MAKE YOUR LIFE HARDER OR RETURN TO WHERE WE WERE)

have been exported via all the vainly bra(i)nde(a)d western entertainment culture's entrepreneurSHIP, worSHIP, championSHIP, craftmanSHIP, internSHIP, citizenSHIP, dictatorSHIP and companionSHIP

(🎵BUT I WILL GO DOWN WITH THIS SHIP)

whose conceptualised ideal & habit apathy towards shared objective life needs can be balanced via ironic processes

(🎵AND I WON'T PUT MY HANDS UP AND SURRENDER)

guided towards a from group-identities and 🔍"construct dependency Susanne R Cook-Greuter" more free and agile dialectic for the wellbeing of all our homes' out of such motivationally "positively" misguided sense-making dynamics (🔍vaynermedia opens offices abroad) worldwide growing chronic diseases

(🎵THERE WILL BE NO WHITE FLAG ABOVE MY DOOR)

that me, myself & I via my 🔍"big ben watchtower bell" ego🥜 functions' reality testing have prepared a for many of global cultures' attention booty🍑

[of via shared repressions upon social constructs🎅 projected🧭❤️🧭 (🔍brand love) motivational psychological ID🍌💦]

unknown and interesting shortlist superego "heaven"🤥😷😇 of via fourths industrial revolution systematically feasible & enjoyably tasty👅 alternatives for global food industries propagated core incredients' causal care for our shared presence

(🎵I'M IN LOVE AND ALWAYS WILL BE)

that still is "positively" exploited by remnants of our colonial mindsets

(🎵I KNOW I LEFT TOO MUCH MESS AND DESTRUCTION TO COME BACK AGAIN)

that paved the globally entwined way to where we are now

(🎵AND I CAUSED NOTHING BUT TROUBLE, I UNDERSTAND IF YOU CAN'T TALK TO ME AGAIN)

of interconnected shared introspective understanding of by history storytelled lessions that reflect the spectrum of insantities of in us all innate group dynamics that we need to protect ourselves with localised boundaries

(🎵AND IF YOU LIVE BY THE RULES OF 'IT'S OVER' THEN I'M SURE THAT THAT MAKES SENSE)

whose sense-making organisation even on all our diverse local levels in all diverse forms embody the here via @branded.perceptions described very same socio-psychological core dynamics' hardSHIP of via entertaining ironic rebounds of vain western culture more easy understandable globally exported in-group trend "s-HIP"

(🎵BUT I WILL GO DOWN WITH THIS SHIP)

whose attention, exchanged definition of value and reward streams🐟🐟🐟 can be guided more consciously if we like #anotherSel🐟moodboard more habitually via goofy irony strive to transcend any subjective socially like during global "corona nation" (coronation) constructed psychotic mythos towards a via these ironic processes t-easingly dialectically entertainingly intelectually evolving thereby more decentraliseable collective superego🤥😷😇 via resulting social incentives motivating🧭❤️🧭 our hands' actions

(🎵AND I WON'T PUT MY HANDS UP AND SURRENDER)

mutual respect for our by PRESENCE of "opposing" global military and law enforcement focus on globally shared most basic life needs' boundaries and diverse cultural preferences we within boundaries of human rights have to respect in each other

(🎵THERE WILL BE NO WHITE FLAG ABOVE MY DOOR)

via most basic life joys whose goofy eye "vision" spark about our innate irony of our "diverse" and "opposing" mental and social constructs all tend to see ourselves reflected in via the in us all innate but often repressed motivation to orient direction of our lives to help others not just because of "competitive" social constructs, social rewards or warmongering group-think but because of that unexplainable dynamic

(🎵I'M IN LOVE AND ALWAYS WILL BE)

as an geopolitical s-pace of shared introspection

(🎵AND WHEN WE MEET)

naturally gravitating towards

(🎵WHICH I'M SURE WE WILL)

the desire to enjoy not just the moment

(🎵ALL THAT WAS THERE)

but nourish the moments of others that live after we pass

(🎵WILL BE THERE STILL)

via our inevitably dying sense-making constructs of our self-justifying over complexifying minds

(🎵I'LL LET IT PASS)

that as seen during last 2 millennia in almost all types of societies periodically (Strauss-Howe) via inevitable social construct dependent group-dynamics🏟👏👏👏 distort & inflate👽 (🔍care the lost principle mark passio) direction🧠👅🧠 of any type of motivational mental and literal @taste.lifeee

(🎵AND HOLD MY TONGUE)

as described by the irony of story of "holy grail" of our daily dish and its socially signalled dissonance👽 with the bra(i)nde(a)d "golden" appearance status "wealth" of only in our minds existing social constructs that

similar like in any topic of any group-dynamic tend to via resulting sadomasochistic (🔍the burnout society) causal life needs' in-group alienation (alien👽 nation) and out-group derogation

threaten our most basic personal boundaries and daily life needs:

🎵AND YOU WILL THINK THAT I'VE MOVED ON

[originalgenshinscenarios]

Hello it’s the sibling hc anon again! To specify Id like headcanons where the reader is Zhongli and Venti’s s/o (separately). So she invites Klee to meet and spend time with her & her bf in Liyue/Mondstat. I hope this is specific enough ^^

I just wasn't sure about the dating part!

Zhongli and Venti meeting your siblings (Albedo and Klee)

Zhongli

He was looking forward to meeting your family. Truth be told he already knew Alice... It was just that he didn't know who she was to you. Mother knows everything after all so she had to meet your boyfriend herself... Even though neither you or him were aware of it happening.

However right now we're focusing on your siblings!

It was long since Albedo was in Liyue. He was more focused on sketching and doing his own thing instead of talking much to Zhongli.

They bearly exchanged a few words. But it's not like it bothered either of them. So you could say that they were on rather friendly terms.

You warned him that your little sister might be a little bit destructive, but Zhongli only thought it wasn't anything big so he didn't worry too much.

It ended up being a mistake on his behalf... Luckily all the explosions were out of town.

But you could witness him trying to shield her on multiple occasions when things were a little bit too much of a close call than he'd like to admit...

So she thought he was very nice! She also bombarded not only the entire place but him with questions.

She was extremely curious about him and he managed to satisfy her curiosity.

While you were in town he tried to entertain her in his way: by sharing stories of course.

"You see those flowers?" he said pointing at glaze lilies and beginning to tell her about the flower.

It was quite exhausting... But he'd be lying if he said he didn't have any fun at all.

Venti

He knew right away that you were Klee and Albedo's sibling... Reason for that was Klee herself!

She was just so happy about seeing you again. She didn't really understand why you were over at Liyue but she wasn't there to question it.

The three ended up waiting for you together and prepared a picnic. Although Albedo would rather work on his research, spending some time with you was something he looked forward to.

While Venti relaxed under a tree playing his lyre and Albedo was sketching they realized... Who was watching over Klee!?

Few seconds after that realization they heard an explosion nearby...

Turns out she wanted to catch some fish for you. And she managed to catch a great amount... Probably more that the 4 of you can eat.

While Venti was amused Albedo was ready to come up with a way to explain it to master Jean.

All that commotion made them not notice you right behind them right away.

Upon seeing you though... You had both Klee and Vent coming for the hug. After your boyfriend kissed your cheek your little sister said "Y/N I want to give you a kiss too!" so you got down on her level and got a little kiss from her on your other cheek.

"Welcome to Mondstadt Y/N" Albedo said from where he was standing. You responded to his greeting and after this your little greeting picnic began!

Your brother took it upon himself to prepare the fresh fish Klee caught. You didn't have really much ingredients sure but he did pack some things just in case situation like this happened. It wasn't nearly enough for this amount of fish but it was enough for at least a few small portions.

So after such a long time you got to taste his special dish. It honestly tasted better than the last time... Maybe because right now it's such a warm atmosphere?

You were catching up with everyone and told them how your life in Liyue was like. Klee was listening to you like you were a storyteller. Even though you didn't describe any epic stories- just your everyday life really.

Venti on the other hand told you how things in Mondstadt were going... Which made Klee fight for your attention.

It's not that she doesn't like Venti. She does! But she doesn't want you to care about her less because of him.

~Mod Lisa

[the-hot-zone]

ATLA Meta: The Components of the Blue Spirit’s Theme

This is the Blue Spirit’s theme. It’s about a minute and ten seconds long, and an incredible amount of stuff goes into that time. I want to look at what we hear and when--and what that means. First, I am going to discuss two major moments of the theme and what they mean for Zuko; then, I will interpret other aspects of the theme and the tone they are meant to convey.

Firstly, from around 0:07-0:13, you hear three distinct, impactful bell sounds. They are loud; they are resounding; they are strong--almost like the stamping of feet. The theme begins with a statement. But what is that statement?

Well, listen to this. These are kagura suzu--a set of twelve bells used during kagura (which I will explain further down). These bells are small and higher in pitch, but if you listen to the lingering bell sound in between “impacts,” the bells in the Blue Spirit’s theme sound remarkably similar to kagura suzu. 

Kagura is a ceremonial dance in the Shinto tradition. It is performed in order to please/pacify kami, which is best translated as “spirits.” Folklore surrounds the origin of kagura:

The epics Kojiki and Nihon Shoki describe a folktale origin for the dances. In these texts, there is a famous legendary tale about the sun goddess Amaterasu, who retreated into a cave, bringing darkness and cold to the world. Ame-no-Uzume, goddess of the dawn and of revelry, led the other gods in a wild dance, and persuaded Amaterasu to emerge to see what the ruckus was all about. Kagura is one of a number of rituals and arts said to derive from this event. Originally called kamukura or kamikura (神座), kagura began as sacred dances performed at the Imperial court by shrine maidens (miko) who were supposedly descendants of Ame-no-Uzume. Kagura, in particular those forms that involve storytelling or reenactment of fables, is also one of the primary influences on the Noh theatre.

There’s a lot going on here--but folklore places kagura’s roots in the goddess of the dawn--which brings a new light and a new day. Additionally, the sound of bells was also thought to get the attention of gods so they would offer protection/wish fulfillment. Also, it's believed that the sound of bells will ward off evil; bells are a symbol of protection--and are associated with luck. 

So, what does this all mean? Why are these bells used in the beginning of the Blue Spirit’s theme? 

They make a statement about how Zuko views his actions during The Blue Spirit: as fate. It is his fate to capture the Avatar; it is his fate to return to the Fire Nation; it is his fate for him to reclaim his role as the Crown Prince and reserve his right to rule. This is his singular obsession that drove him for the past two-ish years because, once again, that is his fate. Thus, when Zhao captures Aang, this is a real obstruction to his spirits-willed path, and Zuko is willing to steal and sneak in order to capture Aang--he is willing to do dishonorable things for a chance to restore his honor. 

This is why the bells are used in the beginning of the theme. Zuko was born unlucky; the bells at the beginning of his theme call upon luck for his task. He is also calling on the spirits for protection--against Zhao. He wishes to capture the Avatar; this is his fate; therefore, the spirits will assist him. This doesn’t mean Zuko is literally invoking spirits in this episode, but the connection of the bells to spirits tell the listener about how Zuko views his actions: as fate, as willed by spirits.

But there’s a contradiction in the bells, too. They’re meant to ward off evil, but the Blue Spirit mask references an antagonistic force. A type of mask in Noh theatre was the Onryō mask, which often portrayed vengeful ghosts. The designs of these masks remind me of the Blue Spirit mask:

[ID: a photo of an Onryō mask used in Japanese theatre. The mask is humanoid, with two eyes, two ears, a nose, and a mouth. It is colored white. Two golden-colored horns sprout from the masks’s forehead, surrounded by wisps of painted-on black hair. The eyes are a dull gold, and the pupils are two circles cut out for the wearer’s eyes. The mask’s brows are drawn together. Its nose is wide, and its mouth is open in a snarl, revealing two rows of dull gold teeth. There are two fangs on the mask’s upper row of teeth, and two fangs on the bottom row. Its expression can be described as an anguished sneer. End ID.]

The Onryō is believed to be capable of causing great harm in the physical world by injuring or killing its enemies. There’s also the connection of kagura to Ame-no-Uzume, the goddess of the dawn. Dawn is associated with new beginnings and new light; The Blue Spirit is one of the first episodes in which the viewer realizes there is more to Zuko than meets the eye. Aang knows this, too: Do you think we could’ve been friends? 

Therefore, the first few seconds of the Blue Spirit’s theme are a contradiction: a representation of treason against the Fire Nation by cheating Zhao (dishonorable), and Zuko’s own desire to be lucky, to succeed in capturing Aang and thus fulfill his fate as the spirits will it (honorable). They make a powerful statement in regards to Zuko’s intentions and thought process. 

That’s the first 13 seconds. I’m not done yet. 

The bells from the beginning blend seamlessly into the sound of a tsungi horn. It decrescendos to almost nothing--then there is another pound of the bell, and another crescendo of the horn, as if they are at war. This is intentional because it’s not just a tsungi horn in this theme--it’s Iroh’s song. Listen here and compare--the melodies are the same. Thus, at the beginning of the theme, the bells and the tsungi horn are at war: Zuko’s belief in his fate is musically pitted against Iroh’s influence. The bells are loud, a clashing statement! but they fade into the tsungi horn. This does not mean, however, that Iroh’s influence has won. Far from it. The notes the horn plays are long, low, and sonorous. They stretch, as though reaching for something. They are a plea, evocative of mourning, perhaps for the son Iroh has already lost, and for the son he fears losing. 

Thus, this part of the theme is blatant foreshadowing. By making Iroh’s theme a part of the Blue Spirit’s theme, it seems as though the writers were wanting to make a statement about the role of the Blue Spirit in Zuko’s journey. 

Those are the two large moments I wanted to talk about meaning-wise. Next, I just want to talk about the sounds and what I think they’re meant to make the listener feel.

As stated above, the notes of the tsungi horn decrescendo and crescendo, giving the listener a feeling of suspense. Around 0:36, a slow, rhythmic strumming of a strings begins, adding to said suspense. Then, the string and tsungi break off at 0:43, and what starts at 0:47 is a light tapping of a chime or bell. These urge the listener to imagine quick, light footsteps, representing the agility of the Blue Spirit--like tiptoeing. This tapping chime ebbs and flows with the tsungi horn, adding more suspense and once again adding to the aesthetic of the Blue Spirit. It’s a fantastic bit of sound that perfectly captures the imagery of blue-tinged shadows, of carefully-placed footsteps. 

Around 1:05, a drum sounds, cutting off all sound. Then, the theme ends with the pounding of a drum that disappears just as quickly as it had appeared. It sounds like a heartbeat, they way it picks up and settles, as though a person has just made a choice. With that drum, the theme tapers away, just as the sound had done so many times throughout the song, leaving the listener with the impression that the Blue Spirit has more work to do: the theme, and thus all of its components, is not done yet.

All in all, I love the Blue Spirit theme. On a surface level, it invokes the perfect tone for the aesthetic of the Blue Spirit. Imo, on a deeper level, it represents Zuko’s view towards his fate and foreshadows his struggle. 

[protagonistheavy]

Finished Three Houses and also season two of Kipo. And both were disappointing! But neither were bad experiences! Just lackluster! Yeah! Im gonna talk about 3H first.

3H was a fun experience, but it's a let-down how suddenly it grinds to a halt. I totally spent way too much of this game overthinking stuff, especially since at the end of the game, it doesn't seem like there's anything else to push for. It doesn't seem like there's ANYTHING to do on a completed save file, except beat the final mission again. Unless Im missing something?

But if that is it, just that, then... dang. That sucks. Feels like I spent so much time playing so meticulously, only for the game to have given me no reason to care since nothing comes after that point. I guess there's new game+ to look forward to, but, sorry, Im not really interested in playing 3H again. I had my fun, I think it'd be cute to see the other routes, but the whole experience isnt worth multiple run throughs imo. I can already get the feeling that I know what to expect from the other routes, so it'd be very repetitive for someone like me...

It sucks that because of this route-split storytelling, a singular route gives you a faulty amount of information to complete one story. There are so, so many fucking loose threads that will just remain a mystery to me until I read it up on a wiki, because I'm just not gonna be assed to play the other routes to fill in the gaps. God knows I wouldnt even remember all the holes of information Ive noticed in Edlegard's route.

Even then, even if I knew all the lore, the story I saw just wasnt exciting. After the timeskip, it felt like I was disconnected from the world, and just didnt care about things as much. It just felt like a bunch of steps forward, with no serious twists to really make me reconsider the story... No, all the twists are done by the mid-point, and the rest is just going through the tRaGeDy of wartime. Very overdramatic monologues fill the runtime of the game, with characters just constantly repeating what the next mission is about... what the overall reason for the war is...... how everyone wants the war to be over........ The status quo just never gets rattled, not like how it does in the first half. The plot with Edlegard's uncle goes literally nowhere, the plot with "those who slither in the dark" is just an epilogue note, nothing comes back regarding the Yellow Guy........... Even your marriage to a unit is just slapped on at the end, nothing more than just a page of one-sided dialogue from the one character. Groooooaaaaaan.

So many bad decisions come up in this game to sour it. So many great ideas underutilized. I hope the next FE game can learn a lot about 3H, because it made a lot of excellent choices in some regards, and mistakes in others that can easily be fixed going forward. But honestly, the most crippling flaw in the game is just how rushed it clearly was, with story routes that end abruptly, cutscenes that are pasted together, dialogue that is unrefined from characters that lack charm, bloated mechanics that make the game too easy, and clashing tones that take away from the story's better moments.

Id love to see a future installment revisit the academy aspect of the game. Garreg Mach was a great idea and I dont hate its implementation, but it needs some serious polish. I love the idea of a hub location that you live in, so take it to the next level. If the area is going to be big, make it meaningfully big with locations you WANT to visit. More minigames and more events you can take part in. Maybe instead of summarizing everything by weeks, just play it out day-by-day; seriously, the micromanaging to teaching your units what to specialize in, maximizing your free time slots to make the most of your time leading up to a mission, was really engaging! I hope to see more of that come back, maybe a game focused on you teaching multiple generations of students. And remove the teacher-student romances, like, ugh, I could stomach it in 3H since I just sorta had to, but next game, maybe focus on a handful of avatar-NPC romances between the teachers/staff? Less options, but better crafted developments. So much about 3H would be great if they made some wiser decisions, and maybe gave the game one extra year in the oven to be optimized.

[bionic-penis]

Here it is! Before we get into it I'd just like to say that I sent this all in discord and so i dont use the most academic language and i also had to cut out some bits where I was speaking/replying to friends :)

Okay so maybe Yang and Blake are just good friends, I can see that, but the storyline and all their major character events are so intertwined that it wouldnt make sense not to make them a couple

Spoilers for literally everything

But in my defense its been seven years

Anyway Yang and Blake's stories dont start getting seriously interconnected until around volume 3, but we do see them being closer to eachother than the rest of team rwby (save for Yang and Ruby but they're sisters so it doesnt count)

When Blake is stressed out over the White Fang in Volume 2, it takes Yang to snap her out of it

Also a lot of people have mentioned this but I'm gonna say it again for those who havent heard it but colours and weapons matter in rwby. They're a key element in the show

ahem

Colours play a big part in the design and storytelling aspect and rwby and its no coincidence that Yang eyes are purple and Blakes are yellow, which are eachothers like signature colours outside of Blakes black

But even more than that is weapons

As we learn from Ruby in the first Volume, a lot of students make their own weapons and, as it is constantly reiterated, weapons are an extension of the self in RWBY. They're not just a tool to be tossed around

In the show we see little instances of people interacting with and using other peoples weapons. There's that one scene where Ruby uses one of Penny's swords to defend Pyrrah, but that was out of necessity. however, over and over again we see Yang interacting with Blake's weapon, Gambol Shroud

As someones mentioned before, an entire moveset of theirs is dependent on it

So it's clear that these two characters are incredibly close

Moving on from that point, Id like to analyze the incidents thst occur in volume 3 and following events that further Yang and Blakes connection

In volume 3 after Yang "breaks" Mercurys leg due to Emeralds illusion, she sits in the dorm room surrounded by her teammates, yet the scene singles out Yang and Blake. When Yang asked if they (her team) believed her, Ruby and Weiss are ready to say yes, but Blake hesitates. Yang and Blake then share a moment where Blake explains that shes trusted people before who turned out to be cruel. She asks Yang to look her in the eyes and tell her that she (Yang) is telling the truth. Yang does so and Blake believes her this level of affirmation from one another is so unlike the rest of Team RWBY and even Team JNPR

Ofc in the dorm scene the person Blake is talking about is Adam, her abusive and possessive ex. Obviously your relationship with an abusive person effects any and all interactions/relationships, regardless of their extent, but I think it bears mentioning

Continuing on in the events of volume 3 when Beacon is being attacked and Blake is confronted by Adam, he has her pinned down and says something along the lines of "I am going to destroy everything that you love". Unfortunately this is when Yang happens to stumble into the scene. Horror is prominent on Blakes face. Yang sees Adam over Blake and yells at him before charging forward, which is when Adam cuts her arm off. It's a very emotional scene imo. Blake then uses her semblance to get her and Yang to safety

So let's analyze this

Adam specifically singled Yang out

Ofc yang was the only one there at the time but Adam didnt say "starting with your little teammates" he said "starting with her". Ofc this could just be me cherrypicking but I think that word choice has meaning

Regardless, this is an intense moment for Yang and Blake that really welds their stories together, romantic or not

In volume 4 Yang and Blake take a break from one another-- Jk but theyre separated. After the events at Beacon, and especially after what happened to Yang, Blake runs. And we get to see both women dealing with this and trying to come to terms with it. Yang is bitter. She's angry that Blake, specifically, left her. And Blake feels like she had to run away to keep everyone, specifically Yang, safe

In Volume 5 we dont get much interaction at all between Yang and Blake aside from the same feelings represented in Volume 4, but these are put on the back burner for Blakes White Fang arc

However these feelings take a forward play in Yangs mind and she even voices these feelings to Weiss and Ruby

I take a deep breath

Volume 6, Blake and Yang are together again but tensions are high. They have to learn how to be together again. When Blake and Yang finally have alone time in the shed, Blake expresses how she won't leave, which comforts Yang. However, Blake continues on to say how she will protect Yang to which Yang gets mad and the moment is ruined.

Despite this, Yang and Blake are still going strong and trying to make things work by being there and supporting each other

Yang and Blake's arc for Volume 6 reaches its peak in the fight against Adam. In this fight we see both women fighting the actual source of their trauma. One thing id like to note about this fight is that Blake starts it alone but is joined by Yang, who tells her to catch her breath. This fight is the first major fight Blake and Yang have fought together in a long time. And its amazing. During the fight, Adam screams at Yang in anger and jealousy, asking "WHAT DOES SHE SEE IN YOU?" And saying that she (Blake) cant protect Yang to which Blake replies "I'm not protecting her. And she's not protecting me." MIRRORING the conversation in the shed

the fight ends with Yang and Blake stabbing Adam through with Gambol Shroud, killing him

Now theres some little things id like to point out with this fight, aside from the amazing chemistry between Blake and Yang and the awesome choreography

Its during this fight that we learn about Adams semblance (magic power basically), which is that any hit he absorbs with his sword, he can return with greater force. This is a corruption of Yang's semblance, where any hit she takes herself she can return with greater force

Now why do I think this is significant? Because rwby is all about symbolism. I think Adam's semblance was specifically chosen to mirror Yangs. Adam doesnt have to deal with pain, he just deflects it, which is how his relationship with Blake plays out. She tries to let him off easy, she tells him to leave her alone, but he just can't take the hint, just like he can't take a hit. However, Yang does take the hits. Yang takes them all and it makes her stronger. She empathizes with Blake and works with her. Adam doesnt have to deal with the pain his actions cause because he doesnt care. This reflects Yangs extremely empathetic personality. Yang knows what consequences her actions can have. She can take the pain

Another thing id like to point out is Adam's behaviour during the fight. He lashes out as Yang for getting in between Blake and him, blaming her for his flaws. He targets her just like in Volume 3. I think this was done purposefully

Another thing is Yang runs Bumblebee off the cliff to help Blake! Her bike! I think this is important bc yang loved her bike. It was part of her brand for the longest time. Perhaps running it off the cliff in the fight vs Adam is a nod to growing by letting things go? Idk I just feel like its an important beat

In Volume 7 we see Yang and Blake working together more regularly again with even a few flustered glances (maybe). Marrow even mentions that they never pair up with anyone else to which they respond with a cool fight scene this feels like the extent of their interaction since Volume 7 focuses more on ruby

Volume 8 isnt finished but there is one line that I think is important which is when Yang asked Jaune if "she'll think bad of me if we fail?" To which Jaune responds "Ruby's your sister" and Yang says "yeah... Ruby..." LIKE EXCUSE ME?

[I take some time to riff with my friends and partner before continuing]

ANOTHER THING

Adam BREAKS Gambol Shroud during their fight, mirroring how Yang, once again, works with Blake and Gambol Shroud. This is yet another example of Adam being violent and abusive towards Blake where Yang is sympathetic and kind. Theyre set up to be narrative opposites

Even though both Adam and Yang are both hot heads, utilize a similar semblance, and both have a deep connection with Blake, they are not the same bc Yang trusts and appreciates Blake while Adam does not

Also Adam and Yang both share the same sentiment of "Blake left me" but whereas Adam lashes out at Blake, Yang is mostly frustrated. Unlike Yang, Adam never attempts to work it out with Blake, which is where the two differ greatly. Yang is willing to listen whilst Adam is not

TLDR: uh give me Bmblb content right now Roosterteeth or I will suck the marrow from ur bones

[imagine-that]

Stepping into the door of your small apartment, you hung up your coat and removed your shoes before walking towards the kitchen.

“Mom, dad, y/b/n I’m home!” You called as you opened the fridge and poured yourself a glass of lemonade.

A moment later, a loud pair of quick footsteps sounded down the hall, racing towards you.

“Y/n! You’re home! Why?” Your little brother screeched as he came to a skidding halt, causing you to wince for your poor ears.

He grinned at you and you smiled back, shaking your head.

“I’m off work. That usually means I come home doofus.” You explain, chuckling and ruffling his hair. He tries to slap away your hands but due to your difference in age and height and strength, he does not succeed.

��Aren’t you usually with your boyyyyyyfrienddddd?” He asks in a mocking tone, sticking his tongue out at you.

“Very mature y/b/n.” You state, smirking at him. “Klaus is busy with stuff but we have a date later tonight so I’m not home for long.” You add and he smirks back up at you, causing your smile to falter. “What?” You ask unsurely.

“No you don’t.” He says evilly. You narrow your eyes at him a little.

“What do you mean?” You demand and he laughs a little.

“Mom and dad need a babysitter for me. That’d be you.” He responds before running away in the other direction cackling.

“Brat!” You shout after him. You leave the kitchen and knock on your fathers office door and enter when you hear a tired come in.

His face lights up a bit when he sees it’s you. “Hey y/n. I thought you had work at Russos today?” He questions, still looking at his paperwork.

“Yeah yeah I had a few shifts today.” You say in a rushed tone, waving it off. “Was I involuntarily put on babysitting tonight?” You ask, crossing your arms and raising an eyebrow as your dad sighs.

“Y/n, I know we really should’ve asked you first but your aunt got these tickets for us last minute and your mom is really excited to spend time with her and to get me away from my desk. It’s one night.” He explains and you sigh. “Consider it repayment for letting you live here without paying rent.” He says with a smile and you can’t help but crack one of your own.

“Alright that’s fair. I’m just gonna go call Klaus to cancel our plans.” You say, frowning a little. Your dad stands and comes over to you.

“We really appreciate this I hope you know that y/n.” He says, kissing your forehead and walking out the door to go find your mom.

You leave their office and search for your phone and when you finally find it, you dial Klaus’s number with dread.

“Hello?” He asks through the phone, clearly not having checked the caller ID.

“Hey Klaus. So about our date tonight...” you say. You hear him sigh a bit on the other end.

“You have to cancel?” He guesses, his tone sad and disappointed.

“Yes...” you respond with a frown, ignoring the sound of your little brother making a mess in his room. “My parents have last minute plans and need me to watch my brother. I would ask them to find someone else but they’re always wanting us to spend more time together and they hardly ever go out.” You explain. You could practically hear his own frown through the phone.

“You know I could always-“ he begins but you cut him off, already knowing where the sentence was going.

“You are not compelling my little brother a babysitter.” You say sharply and he knows you mean it.

“Fine.” He groans. Then you hear his tone change. “I have to go. I’ll talk to you later love.” He says, making you grin due to habit when he calls you love.

“Wait where are you-“ you begin to ask but he hangs up. With a sigh, you go to your room and change into sweats and a T-shirt so you could be comfortable while watching your mischievous little brother.

—————————————————————

“Ok have fun.” You insist as your parents tell you how to take care of your brother with little forgotten notes as they’re walking towards the door. Your mom stops and hugs you both and your dad follows suit.

“Why are you guys saying goodbye if you aren’t leaving?” Your brother groans, making you cover your laugh with a cough.

Your parents scold him halfheartedly, laughing a little bit themselves. Finally they leave and you’re left with your hyper little brother.

“Alright what should we-“ you begin to ask but are interrupted by a knock at the door.

You get up to answer it and gasp in surprise when you open it.

“Hey love.” Klaus says with an amused smile.

“What are you doing here? I told you I had to cancel!” You begin but he holds up a hand to stop you.

“As much as I want to explain, could you invite me in first love?” He asks with a grin.

“Right!” You exclaim. “Come in!” You say quickly, nearly not getting the words out of your mouth.

As much as you hated to admit it, you were worried about Klaus’s possible reactions to your little brothers antics. You knew he was gentle and patient and kind with you but you were unsure of his attitude towards children. He had a temper and you were never fully sure what would set it off.

He enters and you go to give him a huge hug but stop when you see the disapproval on your little brothers face.

“Y/b/n, this is Klaus Mikaelson. Klaus this is my little brother y/b/n.” You introduce the two but when Klaus goes to shake his hand, your brother crosses his arms over his chest stubbornly. You can see Klaus’s lip twitch a bit but in the blink of an eye, it’s gone.

‘Here we go’ you think to yourself silently.

“What exactly are you doing here “pal”?” Your brother asks and you have to pretend not to find it adorable.

It’s Klaus’s answer and reaction that surprise you.

“Well sport. Your sister cancelled our date but when I heard she was watching the infamous y/b/n, I had to come meet you as soon as possible.” He explains, having crouched down to your brothers face level.

“Cool.” Your brother responds simply before running off to go find toys to show Klaus.

You look at him in astonishment as he stands and comes to sit next to you on the couch.

“What is it?” He asks, a genuine look of worry on his face.

“Nothing bad!” You say, unable to contain your laughter. “I’m just... surprised at your dynamic with my brother, I mean wow.” You continue laughing and he looks at you, clearly quite pleased with himself.

“I figured he’s your brother and he’s important to you. Plus, he seems very protective for a little brother.” He says, whispering the last part and causing you to giggle.

Soon your brother races back into the room with plastic vampire teeth in mouth and you groan in your head, knowing that would be the thing that set Klaus off. He has an unreadable expression on his face for a moment, causing you to bite your lip in worry but a second later it breaks into an adorable and genuine grin. Once again, he surprised you.

“Don’t bite me! I’m not a villain I swear!” He shouts, playing along with your brother, who was currently hissing at him.

They play vampire together for a bit and then he drags Klaus off the couch by his hand and pulls him onto his feet. The two start running around the apartment and you find yourself giggling at how sweet he was being.

After a while more of them running back and forth down the hall, your brother orders Klaus to sit with you and then he comes running back from his bedroom with his favourite toy in hand and you know he likes Klaus. Possibly even more than you from what you knew.

He shows off the toy a little bit, a grin from ear to ear and Klaus listens to his babbling intently. You find yourself smiling as you watch.

“He likes you ya know.” You murmur contently as you rest your head on Klaus’s shoulder when your brother goes to get more toys.

“Really? Hadn’t noticed.” He teases and you laugh. “I’m glad.” He adds seriously.

You move closer to him, wrapping your arms around him and letting him drape his arm over your shoulders. Just as you’ve gotten completely comfortable, your little brother comes stampeding down the hall like a bull.

“Klaus check out what I-“ he starts until he sees your position and he makes a sour face. “Gross.” He says and you roll your eyes.

“I think it’s time for bed little dude.” You say with a smile and he shakes his head furiously.

He starts to run away from you and you’re about to start chasing him when Klaus uses his vampire speed to get right in front of him.

“Woah!” Your brother says, looking up at him in awe. He starts rambling his praises for Klaus when he swoops him into his arms and carries him to his room.

“He’s not a baby Klaus, he can walk himself to his room.” You say, knowing your brother hated being picked up.

“No! This is fun!” Your brother protests with a laugh. You scoff at him.

“You’ve always hated it when I do it!” You argue.

He looks at you with an eyebrow raised. “Well you’re not a super cool superhero, you’re just y/n.” He says back.

You sigh in defeat as Klaus merely offers a shrug before retreating to your brothers room. You hear them chattering for a bit but don’t intrude, glad to hear them bonding.

A few minutes later, Klaus returns and sits back down, pulling you towards him as he does.

“Your brother is quite the storyteller love.” He says with a chuckle.

“That he is.” You agree. You look up at him with a proud grin. “Thank you. For being so patient with him I mean.” You say and he looks down at you, playing with the ends of your hair.

“Love, I’d try to get along with my bloody father if it meant making you happy. This wasn’t hard at all.” He replies. You nuzzle up to him a little more, happy to be able to cuddle him so much. “Even if you are just y/n.” He adds teasingly and you scoff.

“What a compliment.” You say sarcastically. He chuckles and peppers your face lightly with kisses. “I’m glad we had to cancel our date.” You smile up at him.

He grins back happily. “Me too. And I’m glad I decided to show up and surprise you. I never get tired of hearing people say good things about me.” He says with a smirk. You playfully glare and he laughs. “Only kidding love.”

You wrap your arms around him and snuggle up beside him while he types away on his phone, happy knowing you’re the one and only person he would ever let cuddle him. You begin to fall asleep, happier than you ever thought you’d be that your parents decided to go for a night out.

[loycos]

i know what you mean about the owl house reviews thing lol. i think the only lukewarm review i've seen was the AV club ones.

Again, i like it... i definitely see the potential in some of the characters and their relationships, but so far seeing the execution im not sure theyll ever really take advantage of that. I think this show is more comedy-oriented anyway so bigger things like world building and character dynamics would probably be pushed to the side for a more episodic, simple storytelling.

All of this could change and i could be proven wrong (id love to be) but for now my hopes season 2 arent too high. Just hoping for some cute Lilith moments.

Its definitely one of those shows in which the fandom does most of the heavy lifting to really dive in potential plot threads and relationship dynamics. I was (still am) in the su fandom for years though so im used to having a different relationship with the material im consuming.

Su would go where the fan analysis went. The world building was more tight, the characters more consistent and the relationships between them explored beyond basic levels. It made its pacing kinda rough and it was impossible for the network to just casually air some of its later episodes, bc each required so much context, but for older fans and me specifically it was definitely a better product. I think Disney aren't interested in this type of storytelling, though, which might be what really drags TOH down.

[rpgsandbox]

Working alongside Skydance Television and the incredible team behind the hit Netflix TV series, we’re excited to immerse you in the neon-drenched cyberpunk sandbox of Altered Carbon with our official tabletop RPG.

In this transhumanist vision of the future, the human mind is nothing more than digital code – Digital Human Freight – saved and stored in a Cortical Stack, advanced technology that allows you to “re-sleeve” your entire consciousness into a new body. You can wear any body you can afford, transmit your mind across the cosmos in an instant, and, if you’ve got the credits and political cachet, you can re-sleeve time and again for centuries, accumulating enough wealth and power over the millennia to become the societal equivalent of an immortal god.

“Reality is so flexible these days, it’s hard to tell who’s disconnected from it and who isn’t. You might even say it’s a pointless distinction.”

Whereas character death is a natural occurrence and ever-present threat in tabletop RPGs, Altered Carbon: The Role Playing Game offers a unique angle on the concept. As opposed to creating a brand new character, players will have the opportunity to transfer their character’s consciousness, memories, and experiences into new Sleeves post-death… but at a cost.

Mind you, immortality is not invincibility. Losing a Sleeve is a life-altering setback, and “Real Death” awaits anyone whose Stack is destroyed. That being said, Sleeves introduce their own refreshing challenges to players and storytellers alike. Augmentations can instantly upgrade your athleticism, but a world-class surgeon in an unadjusted Sleeve can botch a basic procedure. The possibilities for characters and campaigns may change from one Sleeve to the next… making long-term gameplay more versatile, while empowering the story to steer character advancement at its own pace.

Bay City is divided into three major territories – the Ground, the Twilight, and the Aerium – each a world of its own; ruled by different kinds of people, playing games for different kinds of stakes.

The Ground: The underclass — known as “grounders” due to their inability to inhabit the skyscrapers as residents or personnel — continues to soar in numbers. Grounders are satiated with automated dispensed foodstuffs, public housing, and a neon-soaked parade of carnal pleasures. On paper, the features of the city seem almost Utopian, but the majority serves only as cheap labor for the vast bureaucracies of the Protectorate and the Meths whose own lives are glittering paradises in comparison to the empty, endless grind of the greater population.

The Twilight: A razor thin middle class serves as administration, managers, and highly skilled technicians to service the various technological marvels of society and its endlessly expansive bureaucracies. These skilled individuals are said to inhabit The Twilight, somewhere between the darkness of grounder society and the dazzling brightness of the high life of meth aristocracy. Most aren’t far removed from some criminal element, either by choice, close relation, or the occasional contractor through one of their shell corporations. You’ll scarcely find a programmer who hasn’t moonlighted as a “Dipper” at some point. Most dabble with decadence or crime (often the white-collar variety), if only to search for some form of existential purpose... The extra money doesn’t hurt either.

The Aerium: This network of skyscrapers is the domain of the meths exclusively. Their towers pierce the sky by several times in height the normal skyscrapers of Bay City. Each tower has the luxury of supporting a multitude of sprawling estates, all free and far above the need to see the rabble below, the unseen underclasses toiling under permanent cloud cover. Only specifically registered air vehicles and police aircars are permitted to fly anywhere near this complex. The much vaunted Suntouch House is part of this complex.

The core edition of Altered Carbon: The Role Playing Game takes place on Sol (Earth) in the year 2384. With the help of a gamemaster (GM), you and your friends can create your own stories and Sleeves in Bay City, the futuristic Californian metropolis that serves as the main setting of the first book and Season 1 of the Netflix series.

The human eye is a wonderful device. With a little effort, it can fail to see even the most glaring injustice.

Take control of police, military, technicians, artificial intelligence (A.I.), special operatives (CTAC), and even the influential elite of high society (Meths) as the core neo-noir themes of Altered Carbon promise endless sci-fi adventures:

Mystery — Solve the unfolding mystery. The gamemaster themselves may not even know who the culprit is at the beginning of the story!

Intrigue — Augments and re-sleeving don’t come without their own costs. Story-driven mechanics challenge players to balance their personal egos and baggage, influencing how players interact with one another and how their characters develop over time.

Action — An original game engine uniquely designed for the RPG, delivering a strategic yet dynamic zone-based combat system with exotic high-tech weaponry and streamlined options for more action-oriented gameplay!

Drama — The twisted reality of transhumanity enables players to create challenging stories, complex characters, and century-spanning epics, all which explore the darkest aspects of human nature that the value of life and fear of death once held in check. When murder is little more than extreme property damage, transhumanity is the perfect playground for noir storytelling that delves into the moral depths of our own humanity.

Working in tandem with Skydance Entertainment, we're able to provide a deeper dive into the world of Altered Carbon. As a result, we're expanding on elements of lore, and the colonized worlds that previously we unexplored until now!

https://drive.google.com/open?id=1Tee2_LgSiUPM4arGX6-IE5pIpre7Q0LF

                                     Click for a clean Character Sheet

The Core Rulebook contains everything gamemasters and players needs to play the game.

Building a Neo-Noir Narrative. Build an authentic noir experience with a multi-layered mystery that unravels over time. Plot twists, MacGuffins, red herrings, and informants all provide the ever-adjusting structure you need to bring mystery and intrigue to your players without the need to pre-plan every detail at the start.

Starting Adventures. Enjoy two complementary modules designed to teach you everything you need to know to run the game and teach players the Hazard System.

Creating a Character. Ready to jack in? Pick an archetype: Civilian, Socialite, Official, Criminal, Technician, or Soldier. Generate core attributes like Strength, Perception, Empathy, Willpower, Acuity, and Intelligence. Game elements like Stack Points, Health Points, Ego Points, and Influence Points help flesh out your characters and determine how they perform and progress through the story.

Baggage. Your time in Altered Carbon takes its toll, as damage to your ego builds up over the years… as do the ghosts of your past deeds from sleeve to sleeve.

Variant Characters. Explore a range of unique playable and non-playable characters such as artificial intelligence beings, envoy soldiers, and high-class meths.

Re-sleeving. The body is merely a shell, and death is not the final destination. Each Sleeve comes with its own strengths and shortcomings. An impossible task in one Sleeve may be child’s play in another. Meanwhile, your enemy could be wearing your friend’s sleeve, so use your intuition and ingenuity to observe the details, break through the obvious, seek out new solutions, and stay alive.

Tons of Traits. Tier-based Trait system allows you to easily build your own Archetypes or assign a set of unique abilities that complement one of our pre-set character builds, with plenty of crossover options so that no two Archetypes are really the same.

Wealth Level Based Economy. Rather than nickel & dime every transaction, players can acquire gear and supplies adjacent (or above — if they’re willing to risk greater consequences) to their Wealth Level in order to keep the focus on story momentum.

Technology & Equipment. Nemex, Shard Pistols, Portable AI Emitters, ONI Interfaces, Merge9; the Core Rulebook provides all the mechanics for purchasing, acquiring, and modifying a plethora of futuristic weapons, apparel, and gadgetry with an expansive list of customizations for nearly every item.

Expanding the Altered Carbon World. While the Core Rulebook focuses on Bay City and Season 1 of the series, we’ve got big plans with Skydance who is currently in production for Season 2, and we'll be working alongside them to discover more ways to explore the colonized worlds in future RPG supplements. In the meantime, fans can explore Osaka and other parts of Earth 2384 via our stretch goal modules listed below.

Altered Carbon: The Role Playing Game will employ the Hazard System – a brand new game system that finds inspiration in popular engines like the Cortex System, Savage Worlds, and Outbreak: Undead.. all while delivering unique gameplay specifically designed for this RPG.

SKILL DICE: Actions are done using an appropriate die type depending on your level of skill.

Which are rolled against a Target Result (TR) assigned by the GM or Scenario:

12+ - Trivial

10-11 - Easy

9-10 - Normal

7-8 - Tricky

5-6 - Challenging

3-4 - Complicated

0-2 - Nearly Impossible

With success determined by rolling EQUAL TO OR UNDER the Target Result. The difference between the result and the TR are the degrees of success/failure generated.

Natural (rolled) 1's are considered an “Ace” - and always succeed with a flourish.

Besides the basics of rolling equal to or under the Target Result, the Hazard System provides a list of easy-to-apply modifiers that will help to quickly and contextually flush out a scene.

Bonus Dice: Players can be awarded Bonus Dice, which can be of any Die Type. Bonus Die results can take the best results (serves as an advantage).

Luck Dice: When luck plays a factor on the outcome (for better or worse), Luck Dice of any Die Type may add to Skill Check Results. Even players with D4s as Skills may fail if luck turns against them. Luck can even displace Difficulty altogether in the right situation.

Example:

Christopher is trying going toe to toe with an off-world assassin in a synthetic Sleeve but decides the fight is a little outside of his league — so he wants to escape. He could simply dart away, in which the GM will ask him for an Athletics - 5 (challenging) roll. He has a D10 in athletics so its reasonable. Or he could use a chaff bomb, which will disrupt the synthetics sensors and maybe cover his tracks. That just requires a Throw - 10 (easy), and even with a D12 that shouldn't be a problem... shouldn't...

Since all dice can roll low, there is ALWAYS a chance of success.

=========================================================

Kickstarter campaign ends: Wed, March 4 2020 6:03 AM UTC +00:00

Website: [Hunters Books] [facebook] [twitter]

[allywrites360]

Treasure Planet Analysis

I recently watched this video talking about some of the visual storytelling evident in this movie, and thought I’d rewatch it a little more closely, and add some of my own thoughts!!

So firstly, there are two really prominent examples of this type of storytelling with Jim (who’s going to be the main subject of this post; he is the protagonist after all, huh?). The first is his wardrobe itself, starting out made of entirely dark colours, and the second being the shadow between his eyes which is animated at key points during the movie.

At the outset of Treasure Planet, the shadow is shown constantly, for the first fifteen minutes at least before the slightest change. This symbolizes the shadow of pain that was left when Jim’s father abandoned him (oh, and spoilers for the movie in this, obviously).

The first minor change in this shadow is the moment when Jim’s passion is ignited in something for the first time in a long time; the prospect of travelling to Treasure Planet, which Jim hopes will allow him to prove he’s worth something to his mother (a doubt that’s created by him entirely), and have a real shot at something other than resigning himself to a rebel. This spark of hope lightens the shadow for the end of that scene. This might also be a good time to mention that the shadow could be symbolic for self doubt as well. This one may be not as clear to see because of the difference in lighting, but you’ll notice if you rewatch the movie carefully.

Jim then opens up a bit, starting to let go of his past hurt as he warms up to Silver, him acting as the new father figure in Jim’s life. This is shown not through the shadow, as Jim still hasn’t fully let go of his past, or fully bonded with Silver at this time, but through the change of his clothes into a much lighter, more natural tone.

Directly following the above scene id the first time the shadow makes its’ disappearance from Jim’s face; the moment when Silver takes Jim with him on a boat ride, a parallel to the way Jim’s father left him behind. Silver, however, waits for Jim to jump in, and proceeds to bond with him by teaching him sailing (is it called sailing?).

The black coat and shadow return, however, as Jim’s guilt casts it upon him at being blamed for a crew member’s death after being accused of failing to properly fasten his line. The coat here serves to act as an emotional barrier that Jim has used since the outset of the movie as he’s moved to sit alone on the edge of the ship.

The shadow disappears later in this scene, however, as Silver encourages him, and eases his guilt. He tells Jim that he believes there is greatness in him, and hopes that one day he can “catch some of the light that’s comin’ off [Jim] that day.” the day in question being when Jim finally achieves the greatness Silver knows him to be capable of. This introduces the light and greatness motif, which continues throughout the rest of this film, showing they go hand in hand, and once Jim is able to finally step fully into the light, he’ll be able to be free of his past, and reach his full potential.

The coat remains, however, until the next morning, when, with some encouragement, he leaves it behind. This may seem just a little gag to show Jim with morph, and it could be, but it could also demonstrate that change isn't instant, depending on how deeply you want to read in to individual scenes.

The shadow comes back once again when Jim’s trust in Silver is broken, and when he’s hurt by the older man, in this scene, it’s in the form of his lamenting to his pirates that he never cared for Jim, and was merely trying to keep him off their backs. This brings back the feeling of betrayal Jim felt when his father left, as the man he cared for and trusted portrayed the fact Jim meant nothing to him. Again, brief scene, and this was the best shot I could get.

The coat notably does not make a reappearance after this scene, nor for the rest of the movie, showing that despite the hurt Jim experiences here, he has grown as a character, and is more confident in himself than he was at the start. This change remains, and is not undone, even by Silver’s selfish actions.

The shadow finally leaves a few moments later, when Jim is entrusted the map by the captain. This gives him purpose, and a goal, which allows him to move past his hurt and do what’s right, which he knows will ultimately help others. This also shows his character has grown, as he moves past his pain to take on the responsibility without hesitation.

The shadow’s returns for the remainder of the film are nearly exclusively when he is reunited with Silver, or at the very least related to him in some way. All of this ties back to the light motif I mentioned earlier, as when Jim is given encouragement by his friends (captain, doctor, Ben, etc.), he is able to step up confidently, and take on responsibilities, reaching more to his full potential. This is contrasted by Silver’s presence, the man destroying that self esteem and bringing feelings from Jim’s past up despite personal growth.

Later in the film when Jim leaves his hideout on Treasure Planet with Ben, he quite literally steps into the light to help the others (in this scene, namely to retrieve the map from the Legacy to stop Silver from reaching the treasure and harming his friends). This shows that Jim’s selfless nature will eventually be his greatest strength (and already prominently is), and will be the thing to lead him to ‘greatness’.

When the shadow is missing, in scenes such as this, Jim’s face also seems to be overall more relaxed; brow less furrowed as he lets go of the past, and stops the aspects of the shadow (such as self-doubt) that he had been casting himself.

Jim’s gun flying away during the fight scene on the ship is also symbolic of his growth; his freedom moving just beyond his grasp (as he’s dragged down by memories through Silver), but him finding a way to keep fighting and continue triumphing anyway (as shown through the inconsistent shadow).

Silver’s influence on Jim (at the moment negative, as it is directly tied to the visual element of the inclusion of the shadow), is shown vividly through the scene where Silver’s pirates restrain Jim and take the map to Treasure Planet. The shadow only appears when Jim glares at Silver, but lightens when he’s focusing on doing what’s right (fighting the pirates) rather than his hurt.

Jim assertively telling Silver that if he wants the map, he has to take him along also serves his character growth really well. He's standing firm in his own decisions, despite losing the approval of his father figure, finally becoming his own person outside of others’ expectations or notions of him, and making these decisions based on what’s right, rather than simply rebellion.

The light from the doorway to the treasure gently lightens the shadow, symbolizing Jim's belief that his pain will be dissipated by gaining the treasure, and that he will gain his mother’s pride (which was already present) as well. This is a falsehood that Silver must face as well, both accepting that the treasure was meaningless overall, and would not give them what they wanted.

This recognition is clear to the audience well before it is to the characters, which is achieved subconsciously through the scene where, while all of the pirates are gazing towards the treasure, Jim looks back at Ben and morph, his friends meaning more than the treasure he’d searched for.

The next piece of symbolism is my personal favourite from the film; Jim falling while they are with the treasure. He works to pull himself back up, but needs that final pull from someone who cares about him (Silver). This symbolizes Jim trying to move past his father’s abandonment, and step into the person he’s grown to become. But he can't do it on his own, to fully make the leap, he needs the support of a father like figure, who in this case, is Silver, choosing Jim’s life over the treasure.

The shadow, which was likely present throughout and after this scene (there were few clear frames of his face, but let’s assume it was) darkens again at Jim’s realization that Silver may leave him, which comes when the captain comments about him being put to trial. This brings up strongly his final moments with his father; this may not seem like much now, as it is a very brief scene, but it strengthens the conclusion of his time with Silver, which we’ll get to in a minute.

The shadow then disappears once and for all as Jim relies on his strengths, both internal (selflessness), and external (knowledge of mechanics), to build a solar surfer to allow him to save his friends and their ship from being destroyed. This shows him finally reaching that confidence in himself and his abilities that Jim has sought after his entire journey, and, as a result of this, he is not negatively influenced when he interacts with Silver in the form of the pirate helping him with the construction of the solar surfer. He has, at this point, nearly completed his arc, and moved past his insecurities.

Jim then falls again, in a similar way to the previous time near the treasure, however this time, he is able to keep a level head, and manages to save himself. This symbolizes more than anything his character growth, able to rely on himself to help others. He’s finally achieved that light and greatness Silver told him was inside all along. This ability to stop his fall, and confidence as a whole, is due in no small part to Silver helping him earlier in the film. He needed someone who believed in him to push him to become the fullest version of himself, and recognize the greatness he was capable of.

The solar surfer was introduced at the onset of the film, when we were reintroduced to Jim as a teenager. The source of rebellion at the start is now a means he uses to help others, and once he’s safely back on the ship, he lets it go. He’s no longer using it as a means of escapism; his friends now mean more than that did, and he literally lets his past go for them without regret, as his developed character no long has to rely on those methods of rebelling.

This time, when Jim sees Silver preparing to leave, he’s confident enough in himself, and the connection they shared to let him go without memories of the past tearing him down, and visually, without the shadow returning. He lets Silver go, because his self worth no longer lies on the approval of a mentor, but rather on who he is.

Silver also notably turns to wave to Jim as he sails off, for the first time making himself, and this event, entirely separate from his father in Jim’s mind, showing the contrast between the means of support in these figures.

The light and greatness motif comes back in their goodbye, when Silver tells Jim he’s “glowing like a solar fire.”, showing the growth he’s seen in Jim, and, unlike the first time he said something similar to this, Jim genuinely believes him. Not just in a temporary comfort naive way; Jim believe that Silver is speaking the truth, and that confidence pushes him to take a shot at a future he never believed he could have.

This motif makes one final appearance at the conclusion of the film, when he is shown wearing all white, yet another lighter change in his wardrobe in this film. This demonstrates his freedom from any burdens of the past as he finally accepts and learns to love who he truly is, and take daring shots to reach his potential, the one his mother had seen in him since ten beginning. His character  arc is now complete, and he can live happily ever after.