#seven years.... real

[houseswife]

wilson saying “I need to do this. for you.” is fucking insane actually. in the same episode where house is deciding whether or not he should commit suicide as a result of wilson’s dying. They are each other’s lines between life and death. humans have a biological instinct to preserve their survival at all costs; house has an addiction that governs his life. but they were willing to forgo all of it for one another, because they couldn’t fathom it being any other way. IM SICK

[jkpng]

🌻 happy sevenniversary 🌻

[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.

[abbey-abdominal]

My part of an art trade for a good good friend of mine who I hope promptly explodes upon seeing this. Nurse!Ragatha teasing Pomni (who is supposed to be sick but uhhhhhhhhh? Is being a simp a sickness? Google is being a simp a sickness?)

[mikayesha]

No one really missed him but he's back<3

[slavhew]

what a kind young man

[cucumbermoon]

One thing I haven't seen anyone talk about much is how abysmally rude Garak is to his customers. He has the worst customer service ethic I have ever seen in my life. He gets confrontational and argumentative with them. He flings Morn's pants at him. He gets super sarcastic with Quark about his lapels. It really makes me wonder about Cardassian customer service in general. Is Garak typical for a Cardassian in the customer service field? Is he being rude and argumentative because that's how Cardassians flirt and he's trying to put his customers at ease? Or is this a symptom of the fact that he hates the circumstances of his life and kind of wants to punish everyone for his reduced station? Did his years as the second most powerful person in the Cardassian Union make him feel like he deserves better than to be talked down to by a Ferengi bartender? I feel like there's a case to be made for all of these scenarios.

[vargaslovinghours]

And never let you go ♥

Bonus without the overspill lighting:

[thelongestwalk]

current cure for art block: turning my fan art into posters to feel cool and hip

[msclaritea]

Benedict Cumberbatch, Olivia Colman to Lead 'War of the Roses' Remake

"The Roses’ is a wildly funny, bigger than life, and yet deeply human story,” said Searchlight president Matthew Greenfield announcing the project. “With Jay at the helm, and Benedict and Olivia and Tony, we have a dream team bringing it to life.”

So Matthew Greenfield at Searchlight is dirty...BEYOND dirty. No comment on Olivia Colman as of yet, but we all know now that actors and actresses usually have NO SAY I'm the projects they're currently put in. This film should not be made. It's another horrible, cruel joke to play on the fans of Benedict Cumberbatch and the people pushing it are on the same level as that jackal Jay Z and the NFL This is pure, sick, Freemason, ancient bullshit. Also, how is it this project is STILL in development, when it's BEEN in development since 2017?

And Benedict, if you go along with this project, it will be revealed to the public that you are going along with your own public humiliation, in order to enrich human traffickers.

Was Clarence really not enough for you?

Or Eric?

How about pissing on yourself in Louis Wain?

AND HEY, DISNEY...BIG FUCKING MISTAKE!

[zhoufeis]

Lu Chang Kong existed. As long as someone remembers him, he shall not disappear... Right?!

七时吉祥 LOVE YOU SEVEN TIMES Dir. Li Nan, China, 2023.

[escapingarchives]

Consider:

Nureyev’s going undercover as a hypnotist for a show at a grand party of the wealthy (somewhere in the estate is a safe with some very important schematics he'd like to get his hands on).

He researches extensively, first pouring over books and then spending hours choosing outfits, rehearsing flourishes and precise movements. He’s also researching the heist itself, of course. But this time, Juno seems more annoyed with all the time he spends on his research. Juno lounges on the bed watching his boyfriend practicing his entrance over and over, only interrupted by occasional dives to double check his books.

Juno huffs and breaks the silence.

“What a bunch of bullshit, can you believe people actually think this hypnosis shit works? Controlling other people with your voice, my ass.” He rolls his shoulders, they've been tense for days, and the pain is worsening his mood.

“Oh now, it’s a performance like any other,” Nureyev replies, “but my research shows people can be put in a trance, can be hypnotized, provided they want it themselves. One cannot make someone do something against their will. They must want to be hypnotized, to let go and be open and obedient. It's quite interesting."

“Can’t see why anyone would want that at all.” Juno says in his usual snappy manner, but he considers it in his head. Being in a trance, mind blank, just floating and being open to... whoever’s in control. He’d hate it, of course, he’d feel way too vulnerable. Even more so in front of a crowd, at a show of all things. He needs to always be alert.

But…

Sometimes he just wants a break from it all, even his own head. Especially his own head. To relax and leave himself in the hands of... well. Maybe he can see the appeal, just a little.

He doesn’t say any of this out loud, of course. Nureyev just hums, practising how he'll pick his pendant out of his front pocket.

“Juno,” he says after a while, “since you’re not receptive to actually being hypnotized, can I test the act on you? Then you can tell me how it looks, without being distracted.” He smiles, one of his canines peeking out.

“Yeah, alright,” Juno replies, trying to sound nonchalant. He sits up at the edge of the bed, stretching a little, ignoring the little jump of excitement he feels for a brief moment. “But I’m still gonna tell you whenever you sound way too ridiculous.”

Nureyev's smile widens, and Juno's eye focus on his sharp teeth. “Wonderful, Juno.”

Nureyev starts with his grand entrance, speaking to the imaginary audience. Juno’s both in awe at his confidence and ability to glide seamlessly into the role, through the sheer ridiculousness of it all.

He resists the temptation to make a snide remark when Nureyev adresses an invisible audience member with the tales of his past deeds.

“… and I shall do it all, with this!” Nureyev reveals the crystal pendant he’s fastened to a chain in a dramatic flourish. “Now, esteemed audience, please quiet down so I can demonstrate my abilities on this lovely lady.”

He sits on a chair in front of Juno. “Now please Juno, focus on the crystal. Let your thoughts clear. All that matters is to keep your eye on the crystal, and listen to my voice…”

Juno rolls his eye, but still leans forward. Nureyev holds the crystal up by the chain so it catches the light, and starts swinging it slowly back and forth.

"That looks really stupid," Juno remarks.

Nureyev shushes him.

It’s a pretty jewel, probably worth quite a lot. Juno wonders where Nureyev stole it. It’s a deep violet that shifts from a sparkling, deep blue, into a gold-speckled pink. It naturally grabs his attention, swinging back and forth. The swinging part still looks stupid. But maybe it would be nice to...

The pendant swings, and Nureyev keeps talking in his smooth voice. This might not be so bad, after all. Juno doesn’t feel vulnerable, there’s nothing to be worried about, he knows he’s safe with Nureyev. Who’s currently speaking, but Juno can’t recall what he’s been saying. He focuses on Nureyev’s steady voice again; he loves listening to that melodic voice.

“You feel the tension leave your jaw, your neck, your chest, arms, that’s it, relax for me…”

It’s surprisingly easy, Juno thinks, to relax. Usually it’s hard to let go of all the tension that sits in his body. It's such a constant part of him that it almost feels strange how easy it melts from his limbs.

“… your stomach, your legs..."

He's breathing more deeply now, he notices. It's comfortable where he sits on the bed, letting his eye follow the pretty pendant that catches the light. He's safe here.

"...that's it, relax for me, you're doing so well."

Juno feels warm at that. He's glad he's doing well. Nureyev's voice really suits this kind of thing, he thinks. Smooth and low and inviting. Juno wants to tell him he sounds nice, but he's so relaxed. It can wait. He struggles to keep his eye open.

"... even more relaxed and sleepy, and you'll only let go on my count - wait, Juno?"

The pendant stops for a moment. Juno lets out a low, protesting sound. It's very hard, but Juno lifts his heavy eye to Nureyev's face. He was doing well, wasn't he?

"Are you really -?" Nureyev says softly.

Juno's so relaxed and comfortable, he felt so close to letting go and now he's confused about what Nureyev's even talking about. He manages a questioning "hmm?"

Nureyev stares at him for a long moment, and then he smiles again, showing his sharp teeth. He cups Juno's face, and it feels nice, so Juno leans into it.

"Oh Juno, you are too lovely, " Nureyev says and holds up the pendant again, swinging the beautiful crystal. "Look back at the crystal for me and keep listening. That's it, well done, and you feel yourself gliding back into the comfortable feeling. Just focus on my voice and how good it feels."

Juno's eye is following the jewel again, how it catches the light, his breathing evening out. He feels like he's enveloped in a soft blanket.

"When I count down, you will feel even more relaxed at every step. When I reach zero, you will sleep for me. You'll be fully under, open, and relaxed. No need to be distracted, just be in the moment, no need to think of anything else..."

Distantly, Juno hears Nureyev speak for another minute, then he starts to count down from ten. For every number, he feels heavier, and more and more comfortable. It's so easy to let go. He wants to let go, to let Nureyev take care of him. Vaguely, he realizes he's wanted it ever since Nureyev introduced him to his newest con. Blank, soft, mindless. Quiet. Juno wants that, and he trusts Nureyev. Of course he does.

"Zero. Sleep for me, Juno."

Juno does.

[gojoidyll]

you all better believe that mappa will absolutely deliver on this scene

[somnas-writes]

Meliodas calls the sins ‘chat’ send post

[yurionicestolemyheart]

it's been a very long 7 years, yall. I'm honestly not even sure what to do with myself with this news.

I guess I'm just really glad we didn't get this news sooner, tbqh. 2017-2021 was an incredibly hard time for me and waiting for iceado to be released is genuinely the reason I'm still alive today. If we had gotten this news back in 2019 instead of the postponement, I honestly can't tell you if I'd still be here.

I have so many feelings about all of this. Hurt and anger are definitely the strongest. I don't think those feelings are ever going to go away entirely.

im gonna be real with you guys it's been a ROUGH April for me, and this is far from even being the worst thing to have happened to me in the last 3 weeks, but I'm letting myself breakdown over this so I can keep dealing with everything else with a brave face.

I wish the production team well. I wish the creators well.

I may have to make a decision on whether or not I'll keep this blog. Who knows right now. I haven't actually been in the yoi fandom for years and iceado was the one thing I was holding on to the blog for. But at least for now it'll stay up as a place to mourn.

[art0block]

...ytiyythdychos ohf6 31uyxuxtdtciretarXddudtÀAÀAAAAAAAAAAAAÀAAAAAAAAAAZUCITOUITUTURAOYZoyxhxyxyducouxouo

...ygxigpu gkdyZghlx...

I AM FREAKING OUT! OK?! OK!

No it's not a new episode.

It's a new trailer of the new episode!

Now excuse me