#im going to be chewing on this for a while

[crossgartered]

LMAO WE KNOW, BREQ

[bogkeep]

thoughts, repeating.

[homosubtext]

i fear i’m falling victim to the sakuatsu brainrot again.

[curestaarlight]

thinking about lu guang (save me) and how oftentimes he's both overly protective of cxs and yet at the same time quite hard on him/distant with him...what if it's because it hurts to much to be open and close with him—he cares for cxs in a way that aches. in a way that is so profound he breaks his own rules. what if he sees himself as no good, really, his only purpose being to protect a light that was kind enough to shine on him? what if he feels that he's sullied cheng xiaoshi, through his cruel rules, through 'making' cheng xiaoshi do these dives which keep him up at night?

i like the idea/theories that one of the bad endings for cxs, the worst one, was the one in which lu guang was the most vulnerable with him. and because of that, he can never let it happen again

[blueskittlesart]

I've heard that while most people really really love BotW and TotK, some people hate those two for going open-world, and some people hate TotK specifically for something about the story. As the resident Zelda expert I know of, what do you think of those takes?

"something about the story" is a bit too vague for me to answer--if you look at my totk liveblog tag from back when the game was newly released or my general zelda analysis tag you may be able to find some of my in-depth thoughts about the story of totk, but in general i liked it.

the open world thing though is something i can and will talk about for hours. (I am obsessed with loz and game design and this is an essay now <3) breath of the wild is a game that was so well-received that a lot of the criticism from older fans who were expecting something closer to the classic zelda formula was just kind of immediately drowned out and ignored, and while i don't think it's a valid criticism to suggest that botw strayed too far from its origins in going open-world, i am more than willing to look into those criticisms, why they exist, and why i think going open-world was ultimately the best decision botw devs could have made. (totk is a slightly different story, we'll cross that bridge when we come to it.)

Loz is a franchise with a ton of history and a ton of really, REALLY dedicated fans. it's probably second only to mario in terms of recognizability and impact in nintendo's catalog. To us younger fans, the older games can sometimes seem, like, prehistoric when compared to what we're used to nowadays, but it's important to remember just how YOUNG the gaming industry is and how rapidly it's changed and grown. the first zelda game was released in 1986, which was 31 years before botw came out in 2017. What this means for nintendo and its developers is that they have to walk a very fine line between catering to older fans in their 30s and 40s now who would have been in nintendo's prime demographic when the first few games in the franchise were coming out AND making a game that's engaging to their MODERN target demographic and that age group's expectations for what a gaming experience should look like.

LOZ is in kind of a tough spot when it comes to modernizing, because a lot of its core gameplay elements are very much staples of early RPGs, and a lot of those gameplay elements have been phased out of modern RPGs for one reason or another. gathering collectibles, fighting one's way through multilevel, mapless dungeons, and especially classic zelda's relative lack of guidance through the story are all things that date games and which modern audiences tend to get frustrated with. for the last few releases before botw, the devs had kind of been playing with this -- skyward sword in particular is what i consider their big experiment and what (i think) became the driving force behind a lot of what happened with botw. Skyward sword attempted to solve the issues I listed by, basically, making the map small and the story much, much more blatantly linear. Skyward sword feels much more like other modern rpgs to me than most zelda games in terms of its playstyle, because the game is constantly pushing you to do specific things. this is a common storytelling style in modern RPGs--obviously, the player usually needs to take specific actions in order to progress the story, and so when there's downtime between story sections the supporting characters push the player towards the next goal. but this actually isn't what loz games usually do. in the standard loz formula, you as the player are generally directly given at most 4 objectives. these objectives will (roughly) be as follows: 1. go through some dungeons and defeat their bosses, 2. claim the master sword, 3. go through another set of dungeons and defeat their bosses, 4. defeat the final boss of the game. (not necessarily in that order, although that order is the standard formula.) the ONLY time the player will be expressly pushed by supporting characters towards a certain action (excluding guide characters) is when the game is first presenting them with those objectives. in-between dungeons and other gameplay segments, there's no sense of urgency, no one pushing you onto the next task. this method of storytelling encourages players to take their time and explore the world they're in, which in turn helps them find the collectibles and puzzles traditionally hidden around the map that will make it easier for them to continue on. Skyward sword, as previously mentioned, experimented with breaking this formula a bit--its overworld was small and unlocked sequentially, so you couldn't explore it fully without progressing the narrative, and it gave players a "home base" to return to in skyloft which housed many of the puzzles and collectibles rather than scattering them throughout the overworld. This method worked... to an extent, but it also meant that skyward sword felt drastically different in its storytelling and how its narrative was presented to the player than its predecessors. this isn't necessarily a BAD thing, but i am of the opinion that one of zelda's strongest elements has always been the level of immersion and relatability its stories have, and the constant push to continue the narrative has the potential to pull players out of your story a bit, making skyward sword slightly less engaging to the viewer than other games in the franchise. (to address the elephant in the room, there were also obviously some other major issues with the design of sksw that messed with player immersion, but imo even if the control scheme had been perfect on the first try, the hyperlinear method would STILL have been less engaging to a player than the standard exploration-based zeldas.)

So when people say that botw was the first open-world zelda, I'm not actually sure how true I personally believe that is. I think a lot of the initial hype surrounding botw's open map were tainted by what came before it--compared to the truly linear, intensely restricted map of skyward sword, botw's map feels INSANE. but strictly speaking, botw actually sticks pretty closely to the standard zelda gameplay experience, at least as far as the overworld map is concerned. from the beginning, one of the draws of loz is that there's a large, populated map that you as the player can explore (relatively) freely. it was UNUSUAL for the player to not have access to almost the entire map either immediately or very quickly after beginning a new zelda game. (the size and population of these maps was restricted by software and storage capabilities in earlier games, but pretty muhc every zelda game has what would have been considered a large & well populated map at the time of its release.) what truly made botw different was two things; the first being the sheer SIZE of the map and the second being the lack of dungeons and collectibles in a traditional sense. Everything that needs to be said about the size of the map already has been said: it's huge and it's crazy and it's executed PERFECTLY and it's never been done before and every game since has been trying to replicate it. nothing much else to say there. but I do want to talk about the percieved difference in gameplay as it relates to the open-world collectibles and dungeons, because, again, i don't think it's actually as big of a difference as people seem to think it is.

Once again, let's look at the classic formula. I'm going to start with the collectibles and lead into the dungeons. The main classic collectible that's a staple of every zelda game pre-botw is the heart piece. This is a quarter of a heart that will usually be sitting out somewhere in the open world or in a dungeon, and will require the player to either solve a puzzle or perform a specific action to get. botw is the first game to not include heart pieces... TECHNICALLY. but in practice, they're still there, just renamed. they're spirit orbs now, and rather than being hidden in puzzles within the overworld (with no explanation as to how or why they ended up there, mind you) they're hidden within shrines, and they're given a clear purpose for existing throughout hyrule and for requiring puzzle-solving skills to access. Functionally, these two items are exactly the same--it's an object that gives you an extra heart container once you collect four of them. no major difference beyond a reskin and renaming to make the object make sense within the greater world instead of just having a little ❤️ floating randomly in the middle of their otherwise hyperrealistic scenery. the heart piece vs spirit orb i think is a good microcosm of the "it's too different" criticisms of botw as a whole--is it ACTUALLY that different, or is it just repackaged in a way that doesn't make it immediately obvious what you're looking at anymore? I think it's worth noting that botw gives a narrative reason for that visual/linguistic disconnect from other games, too--it's set at minimum TEN THOUSAND YEARS after any other given game. while we don't have any concrete information about how much time passes between new-incarnation games, it's safe to assume that botw is significantly further removed from other incarnations of hyrule/link/zelda/etc than any other game on the timeline. It's not at all inconceivable within the context of the game that heart pieces may have changed form or come to be known by a different name. most of the changes between botw and other games can be reasoned away this way, because most of them have SOME obvious origins in a previous game mechanic, it's just been updated for botw's specific setting and narrative.

The dungeons ARE an actual departure from the classic formula, i will grant you. the usual way a zelda dungeon works is that link enters the dungeon, solves a few puzzles, fights a mini boss at about the halfway point, and after defeating the mini boss he gets a dungeon item which makes the second half of the dungeon accessible. He then uses that item in the dungeon's final boss fight, which is specifically engineered with that item in mind as the catalyst to win it. Botw's dungeons are the divine beasts. we've removed the presence of mini-bosses entirely, because the 'dungeon items' aren't something link needs to get within the dungeon itself--he alredy has them. they're the sheikah slate runes: magnesis, cryonis, stasis, and remote bombs. Each of the divine beast blight battles is actually built around using one of these runes to win it--cryonis to break waterblight's ice projectiles, magnesis to strike down thunderblight with its own lightning rods, remote bombs to take out fireblight's shield. (i ASSUME there's some way to use stasis effectively against windblight, mostly because it's obvious to me that that's how all the other fights were designed, but in practice it's the best strategy for that fight is to just slow down time via aerial archery, so i've never tried to win that way lol.) So even though we've removed traditional dungeon items and mini-boss fights, the bones of the franchise remain unchanged underneath. this is what makes botw such an ingenious move for this franchise imo; the fact that it manages to update itself into such a beautiful, engaging, MODERN game while still retaining the underlying structure that defines its franchise and the games that came before it. botw is an effective modern installment to this 30-year-old franchise because it takes what made the old games great and updates it in a way that still stays true to the core of the franchise.

I did mention totk in my opening paragraph and you mention it in your ask so i have to come back to it somehow. Do i think that totk did the gigantic-open-world thing as well as botw did? no. But i also don't really think there was any other direction to go with that game specifically. botw literally changed the landscape of game development when it was released. I KNOW you all remember how for a good year or two after botw's release, EVERY SINGLE GAME that came out HAD to have a massive open-world map, regardless of whether or not that actually made sense for that game. (pokemon is still suffering from the effects of that botw-driven open world craze to this day. rip scarlet/violet your gameplay was SUCH dogshit) I'm not sure to what degree nintendo and the botw devs anticipated that success, (I remember the open world and the versatility in terms of problem-solving being the two main advertising angles pre-release, but it's been 7 years. oh jesus christ it's been SEVEN YEARS. anyways) but in any case, there's basically NO WAY that they anticipated their specific gameplay style taking off to that degree. That's not something you can predict. When creating totk, they were once again walking that line between old and new, but because they were only 3ish years out from botw when totk went into development, they were REALLY under pressure to stay true to what it was that had made botw such an insane success. I think that's probably what led to the expanded map in the sky and depths as well as the fuse/build mechanics--they basically took their two big draws from botw, big map and versatility, and said ok BIGGER MAP and MORE VERSATILITY. Was this effective? yeah. do i think they maybe could have made a more engaging and well-rounded game if they'd been willing to diverge a little more from botw? also yeah. I won't say that I wanted totk to be skyward sword-style linear, because literally no one wanted that, but I do think that because of the insane wave of success that botw's huge open world brought in the developers were under pressure to stay very true to botw in their designing the gameplay of totk, and I think that both the gameplay and story might have been a bit more engaging if they had been allowed to experiment a little more in their delivery of the material.

[milflewis]

something about pádraic not caring about being remembered if he’s nice and becoming terrible and mean and while that costs him himself, it somehow, kind of, gets him colm back and colm wanting pádráic gone so badly because he’s not interesting that he wrecks the one thing that makes him interesting, the one thing that he might be remembered for, and he cuts off his fingers so he can’t play the fiddle to spite him, and in doing so they both will probably be remembered by everyone

[clouvu]

Princely Woman

[15-lizards]

The rhaenicent sept reunion was such a good addition holy shit...It was so humanizing for these two. We've seen them so many times as the stoic queens that they had to be because of the expectations placed upon their shoulders and the situations they've been forced in. But when they're finally together alone again they're allowed to just become people. Stuttering and awkward and bickering and desperately pleading like teenage girls who love one another because those people are still inside of them, they do still exist, they've just been forced down by powers greater than themselves. And the juxtaposition...Rhaenyra so optimistic about ending everything peacefully, trying to mend it all, and so relieved when they both discover her birthright was never in question. Compared to Alicent who has given herself up to the pull of fate, knowing that all this pain was for nothing and is so horribly guilty about it but its too far gone to stop it anymore oh my godddddd

[possamble]

Do you think marcille knows how cute she is. Do you think shes even a little bit aware of it

yes and no. like she's a girly girl who loves looking cute and puts a lot of effort into it! so she's aware that she's an attractive person because she tries so hard to be but...

she kinda misses the point. she doesn't actually understand what makes her cute. she thinks its the cute clothes and the impeccable makeup (and her hair, formerly), but no. it's the big honking ears. it's her extreme reactions and pure expressiveness and how absolutely stupid she can be. it's all the things she would be at least mildly embarrassed about if you pointed it out to her.

[thankstothe]

[thats-a-lot-of-cortisol]

I've been chewing on what fears the bg3 characters would be because I do that with almost every piece of media I like now.

Gale is the Beholding (hubris, pursuit of knowledge above all else, his ex can literally see everything he does in/with the Weave). You could make an argument for Desolation b/c of the orb but I think that's secondary. Wyll is the Hunt imo, but the Desolation works for him too- I think his situation is similar to that Hunter we meet whose name I'm forgetting, whose inciting incident has to do with the Dark. I thought the same thing about Karlach but I think she's Desolation instead of Hunt, both aesthetically and because she was actively betrayed and is, you know, dying. Shadowheart is the Dark. Halsin could honestly be the Lonely: he's pretty isolated from the people around him emotionally. An island unto himself etc etc. Lae'zel is the End imo. You'd think she'd be Hunt but End fits into Vlaakith's whole deal (victim of the End, avatar of the Hunt?). Astarion could be either the Buried (since that covers abuse as well, he was literally kept underground/out of the sunlight, etc etc) or the Hunt. I'm a bit undecided there. I don't know enough about Minthara to make a call on her and I don't want to just say Web because of Lolth. Slaughter, maybe? Since that fear covers war. Jaheira and Minsc are Hunt too, I think (there's a lot of Hunt but that comes with the territory when you're adventuring).

Gortash is Web and you cannot convince me otherwise. I think Orin is Slaughter but, honestly, Durge seems more associated with the Extinction to me because of Bhaal's end goal. The Desolation and the Lonely tag-teamed Ketheric's ass but he's an avatar of the End. Dame Aylin is an avatar of the Hunt, victim of the Dark, and Isobel is an avatar of the End a la the main End avatar we see (Oliver? I really need to re-listen...)

There's obviously a lot of overlap and bleed because there always is. I've been wanting to make art based off of this but it's not happening anytime soon so I figured I'd shout about it into the void a bit lol

[grimalkinmessor]

I keep thinking of a Mobrei soulmate AU to the tune of the fic Polarity by Writeous specifically where you have a soulmark but the TRUE bond is that whenever you share blood with your soulmate, you travel back in time to a time they needed support as an invisible phantom that can only interact with them—and I'm just picturing the first time Reigen and Mob swap blood to confirm and Reigen getting yeeted back into a chaotic nursery room in the middle of the night, tiny ???% Mob floating above his crib crying and wailing as his things fly around him at high speeds and his parents watch helplessly from the doorway. And Reigen, who literally probably learned about his tiny soulmate like ten minutes ago, considering—sighs and just scoops the wailing baby Mob out of the air and holds him. And, since ???% is the one awake, he can see Reigen and is able to interact with him more before Mob calms back down and wakes back up. By then, Mob's parents (why do we never get their NAMES) have kinda scolded themselves for not helping their own child and being afraid of him, enough that this became a moment his soulmate needed to step in, and they come in to take back over—thus Reigen's first big change to Mob's life.

Reigen, however, had a very different experience with his soulmate and is incredibly reluctant to activate the bond after they've confirmed it—because while Mob and everyone else thinks it's platonic, Reigen, who has experienced far more soulmate visits than Mob has at that point, knows that it isn't. But of course, like fate always does, circumstances have them activating the bond far more than he'd like. He's there, afterwards, for every moment Mob needs him, like a delayed memory.

Because he still remembers every time Mob was there for him, even if he doesn't know it yet.

[todayisafridaynight]

drink link without the drink

[burningcomputerpersona]

i just watched I Saw The Tv Glow and now i am in shambles

[carnivalcarriondiscarded]

if you have some, do you have any headcannons for barnaby?

honestly! not really! i don't have hcs for any of the neighbors!

[fungi-maestro]

Questionable Images - The Question #1 (1987)