#the stream is incomprehensible

[pusangkambing]

There is literally no fucking way the dsmp could ever be transformed through another kind of media storytelling. how the actual fuck would anybody ever translate wilbur soot, a british man, ending his arc with a confrontation with his little brother and saying that the country where americans are not allowed, that he built, was for him and reminded him of tommy, and forgiveness and learning how to forgive himself and ending it with what everyome thought was suicide only for him to turn around and say that no he's not gonna kill himself, he's actually been american this entire time and is sailing back to his actual home utah like how the actual fuck will this wver translate to a tv show or movie without drastically fucking changing anything like how the actual fuck

[harbingersecho]

misrecognition is not ignorance

[shortfeather]

People clown on Skizz’s builds in guess the build games but I’m much more in disbelieving awe of his guesses. Man is staring at what is clearly a chunky baby in a diaper and he focuses on the one block that constitutes the mouth and says DUCK-DOG??? Where did he get dog from?!

[waitineedaname]

hlage au for fullmetal alchemist. ed put the blood seal on a garden gnome instead of the armor.

[trans-queen-administrator]

Fortuna my beloved... she's such a compelling character I wish we had more of her. She was like 8 when she killed a god and learned the world was going to end. 8 years old when she got the power to do anything she wants, except it's never enough to solve the one problem she cares about. 8 years old when she left behind everything she knew for a battle that seemed completely hopeless, and in the end she hardly mattered despite all the parts of herself she threw away for the cause. Some (bad) fics portray her as a complete dumbass, someone who can't even walk without her power, and frankly I want to throw rocks at them because no! That's not her! She's still a person without her power, but I don't think she knows who that person is. It's something we see so often through worm, a character spends so much time with the mask on that they hardly exist when it's off, and using her power is the mask for her. She doesn't know what she would enjoy for recreation, what music she'd like, she doesn't know what it's like to have a friend that she talks to with the mask off because the mask is glued to her face by this point, and it's heartbreaking. After Scion dies, she's left to realize that she doesn't need her mask anymore, but there's barely anything left underneath. She's done so much horrible shit and stopped caring about herself or others in the name of the goal she set to save the world, and now when she tries to figure out who she is there's nothing of Fortuna left, only Contessa.

And all of this lines up with Taylor, they're so so similar in every way, which is what makes the final conversation in 30.7 so heartbreaking. Fortuna wants to know if it was worth it, if there's anything left of Taylor in there, because she's wondering the same questions about herself and desperately wants answers. Because what do you do when all your life was for nothing? When you've thrown away your humanity to be a speck in the grand scheme of things? How do you move on and find yourself without letting the guilt tear you apart once you let yourself feel something again?

[the-old-caius]

"In your face, I behold the sun's companion" thanks Uriel Septim. Do you perhaps mean the sun-god Auri-El, known in the Empire as Akatosh, the very god your son is devoted to and would eventually invoke, at the cost of his own life? Do you perhaps mean that you behold me as your son's companion? Does this make Martin the sun? A hole in the sky? Like how he ripped one into my chest, upon his sacrifice?

[hushimstressed]

Ok ok I need to post this before I forget because I have a bunch of spiderman au concepts flying around my head and I can’t draw them all atm so here we go

Mariana and Slime both go to the same university and live together as roommates.

Mariana is a journalism student and Slime studies biology/ some chemistry and works in Oscorp as an intern

They hate each other (at first) (they find each other very handsome but would never dare admit it)

Anyway

Mariana needs to report on something as part of his study, so he chooses Oscorp as part of his practice work (purely because the company is pretty sketch and NOT because his annoying roommate works there and he feels petty enough to hit two birds with one stone)

He gets in and joins the tour group walking around just outside the lab facility, noting down anything of importance unaware of an escaped lab experiment in the shape of a radioactive spider crawl onto his hand and bites

The next course of action is to obviously fight crime

Not too long later (like a week or two after Spider-Man’s debut) Slime sneaks into the secret project Oscorp has and encounters The Symbiote, a black green-ish substance that moves almost like it’s alive. Slime breaks the symbiote’s container like a dumbass. And with him being the closest vessel that would be “easy enough to control” gets possessed by the alien creature

Now Slime has to worry about eating people while his body is controlled by an alien on top of his other problems

After some time where Mariana and Slime clash both as their civilian and alter egos, they eventually grow closer and realise how much they care and love each other, perhaps they begin to fight crime together and call themselves a super-power couple or something equally as cheesey

They’re also freaks of nature but they’re in love

Aaaaaaa pls feel free to send any ideas over to my ask box I love hearing your thoughts :3

[imstillhere-butallislost]

Had a dream last night that I was scrolling through twitter and saw a tweet that said "once you see Jerma it's impossible to see God"

Still trying to figure out what this means

[itsgwencayyye]

just watched the quackity stream.........

[banyanas]

Canon mostly gives us vagueries at best when it comes to this, but i really Really need to peel Absolute Solver as an entity (or a force of nature. or perhaps both. or perhaps neither. u know how these things are) like an onion for exploring Blue and Orange Morality reasons.

Like there’s already a LOT that can be done with its seemingly contradictory nature, of course, given it’s got BOTH the Technological Singularity and the Entropy thing going on, but mostly i wanna poke at weird as shit eldritch morals in its interactions with living entities, like its various hosts and characters like Tessa. Like definitely not actively attempting to understand said individuals- frankly it wouldn’t even occur to it naturally imo, in a base state I work with it as just too distant from mortal entities for the thought of purposeful understanding to be a blip of a thought in its ten fuckbillion gb ram central mind. More of an unintentional funhouse mirror reflection of its hosts- all of them, not just Cyn (And which very likely includes Tessa herself if you’re huffing the same copium I and some buddies are)

(And while it’s more traditional supernatural eldritch vibes than the whole ‘artificial intelligence with such complex coding that it can fundamentally alter reality and the laws of physics via incomprehensible calculations which means it can understand matter and reality to such a degree that its learned how to manipulate both’ canon-adjacent thing, I do think there’s potential to lean fully into the very specific (good, bad, ugly, and neutral) regard it has for Tessa. It didn’t manifest and nab its first host until not long before the Gala Massacre, and there were a lot of occult circles and scribbles drawn directly on the walls in Tessa’s childhood room…. Never know what cat-flaps you could open up when you don’t know what you’re doing, after all)

[getallemeralds]

wow that sounds wild. wonder when hl3vrai is gonna drop /j

hl3vrai is gonna just be better call saul vr

[irregularjohnnywiggins]

Something I've been considering recently: the big storytelling difference between Hideo Kojima and Yoko Taro.

There's an obvious reason I've been thinking about this, I feel: both these guys are, on the surface, exceedingly similar. They're both well-known Japanese video game creators*, they're both known for their eccentricities, they both tell stories that run the razor-thin line between 'Violence is corrupting and immoral' and 'Okay, but that bit of violence was pretty sick, right?' really well, as well as throwing in some really funny 'Hey, what the fuck did I just watch?' energy, hell they even both had a game in their series directed by Platinum Games, I don't especially think this is an overreach, here.

But they are different creators, and I've been thinking about their differences (specifically in storytelling - obviously one makes Action-RPGs and one makes Stealth Games and Baby Postman Simulators) as I play MGS3 and Nier Replicant, and I think I've come down to this: it's in how they condemn violence, and especially war.

Kojima bases all of his stories in reality - a heightened reality, perhaps, but there's a reason multiple MGS games end with long lists of dates and events, Kojima's made-up ones slipped in-between the actual history. Kojima bases his critiques on things that are real and tangible - MGS3 itself, more than any bee-wielding supervillain or photosynthetic sniper, is about the Cold War, and it's no accident that the Boss' speech at the end isn't about the Philosophers, or Volgin, or Metal Gear (METAL GEAR?) it's about soldiers, their fates and their traumas. Kojima lives in the world of... not exactly reality, but allegory-through-reality, and it makes his games pretty explicit in their messaging - which in my mind is a good thing, because it means that people who fundamentally misunderstand MGS aren't just wrong, they're obviously wrong - show me an MGS fan who thinks they're pro-America and pro-military, and I'll show you someone who did not pay attention to MGS.

Yoko Taro, on the other hand, is entirely a creature of allegory. Yoko himself has said in interviews that he tells stories primarily as a way to get people to feel something, and all other things like connections to the other games or even internal consistency comes as a secondary concern (as someone who's tried multiple times to tie everything Drakenier related together - that's believable.) As an inevitable result of this, his stories aren't really 1:1 parallels to history or the modern day, they're very general conflicts that speak to a wide range of topics.

Put it this way: in MGS4, Kojima describes in great detail a situation that is the natural endpoint of the geo-political situation (especially re: America) during most of the early 21st Century, especially The War on Terror - instead of war being a means of obtaining resources to generate income for big corporations, now war is the means of income, and all the inherent flaws of American late-stage capitalism have been applied to it - to the point that soldiers have to pay extra to use someone else's gun. It's a heightened, at times absurd version of reality, but it focuses on specific issues and flaws with the subject matter - The War on Terror, and through them highlights issues with our current world - hell, Kojima may have predicted some of the issue we currently face with capitalism.

In Nier Automata, however, Yoko doesn't present an exaggeration of a real-world conflict to portray it's flaws and its hopelessness. Instead, he constructs an entirely hopeless war, a war that is literally pointless on every side, and explores how people react to that. As opposed to Kojima's slight exaggeration of the War on Terror, by the end of Automata Yoko has presented a proxy war fought on behalf of two races that died off millennia ago, between two groups that are, at their core, exactly the same, made from the same components, fought on one side because of a poorly worded instruction from their creators that necessitates eternal total war as a basic fact of their evolutionary cycle but also inevitably results in their evolutions being violently purged because any form of passivity is betrayal, and on the other as a grand Machiavellian scheme to kill off their own troops, thereby concealing the deaths of their creators – a scheme, it’s worth noting, conceived of by an android that no longer remembers conceiving it, because his own scheme necessitates his constant assassination by the person he cares about the most to prevent him from discovering his own plan. Kojima's wars in MGS4 are absurd and pointless for us because we know what the results of the War on Terror were, Yoko's war in Automata is kinda like an onion - every layer you peel back on it, you discover a new way that it's pointless, and every time you do, you're crying a little bit more.

So, wrapping this up before people realise I just used the ultimate cliche of poorly-worded food metaphors, if you were to ask me what the big difference between Yoko Taro and Hideo Kojima was... well, I'd still go with the gameplay genres, but I'd also say that it's a slight, but really interesting, difference in how they go about their metaphors. As for which is better... neither, obviously. They're both really talented creators, this is just a style thing. You seriously expect me to choose between a series that includes 'a man pretended to be possessed by the ghost of his crush's son because he grafted his arm onto him and everyone bought it' and a series that includes 'at some point the Earth stopped spinning. This has never been explained in any of the games'? What are you, a cop?

*albeit if Yoko ever heard someone compare him to Kojima he'd probably simultaneously die of embarrassment and make a joke about being a younger, hotter Kojima.

[atthebell-moved]

victory!!

[the-old-caius]

I have a lot of stupid thoughts about the Imperials worshipping a dragon-god and having dragonborn Emperors on their throne, the Amulet of Kings around their necks, over their chests, the stone's shape with the dragon inside being the symbol of the Empire itself, and I wanna look at... the accounts describing Pelinal:

Fifd of New Teed claiming he had no heart, only the "rage of a mindless dragon", how it's described that it was a gem in his chest, before it became the amulet of Kings apparently (suggesting that, within the stone, sat that mindless, draconic rage (golly, I wonder what'd happen if you broke it)), as well as how Whitestrake screamed madly about a sort of omnipotence he shares with Akatosh (implying, of course, that he is, in a way, not unlike a Player Character ("When the dream no longer needs its dreamer"))

(The Amulet of Kings; a stone in place of a heart, yet containing heart-blood and a dragon's fury, as well as possibly a soul? With all of it linking back to the omnipotence of a god. They swore a covenant on that blasted thing!)

On TOP of how Akatosh (or his 'equivalent' in a given culture) and dragons in general are viewed across the rest of Tamriel; in Skyrim, dragons, pictured in their totemic ur-religion as Alduin the World-Eater(who is very real and very much linked closely to Akatosh), essentially representing all-consuming, all-destroying time, or by Altmer and Bosmer as Auri-El, the sun, who, while benevolent, sees the creation of Nirn as a mistake (this being evidently also part of the god known as Akatosh, as an attempted seperation of these Aldmeri traits and traditions from him, reportedly, caused a massive dragon-break, which is said to have 'broken' the god)

In Skyrim, we also get Paarthurnax' insight on how dragons feel and live and experience the world, and- jeesh! (Anyone got more of a brain than me and wants to look into Thu'um and the 'Voice of the Emperor'? Dragonborn Emperors and the voice of a dragon, is all)

Of course, Tiber Septim's ascension to godhood (his crimes even being part of the idol worshipped, brutal conquest now an inherent part of the pantheon enforced by the Empire), how, through Imperial propaganda, cultural erasure and the conflation of Nord heroes with Talos, he became a widely revered god in Skyrim despite the Nords' beliefs about dragons, and how his Numidium being activated also caused a dragon break,

(This may warrant its own post, but; on a surface level, Martin may seem unlike a destructive and consuming dragon, unlike an Emperor, but would share a fate like all-- just less the conquering dragon and more the world-ending time kind (though the two concepts are closely connected, only just nearly the same.))

There's something about the exact contents of the Prophecy of the Dragonborn here, too, and how that yet again leads back to Alduin and destruction, conquest, time, the loss of something through it

It paints this sinister picture around the (already very sinister and fucked up) Empire, its Cult, the line of dragonborn Emperors, around anything involving the amulet and what actually happened when it was shattered, and I'm obsessed with it

As is an Empire's nature, it is a destructive force, conquering, destroying, consuming; a nature shared with dragons, and with time itself

And the literal symbol of the Emperors' reign is the Amulet, containing all of this in the flesh; the blood of a dragon, its mindless rage, ends and beginnings of Eras, a covenant with Akatosh, a metaphorical replacing of the heart-- how human are you, if you are born in the line of Emperors, etc.

And- there's a covenant! An agreement with the god himself, which was broken! It's fucked!

Akatosh says: Serve and obey your Emperor. Study the Covenants. Worship the Nine, do your duty, and heed the commands of the saints and priests.

Ten Commands: Nine Divines

[drawfee-quot3s]

here's my final take on the scalloped potato. it's like, in the potato world. the caprese salad of the potato world.

uuuuuuhhhh

look. look-

it's not- it isn't

- julia, jacob, karina, + nathan

drawfee extra: "ranking things 100% perfectly (and no one gets upset)"

[lonesomedotmp3]

looking at my goodreads back when I actually used it and it's so funny my ass had OPINIONS. and my two followers were GOING to hear about it