"haha wylan walks in on jesper kissing the wrong guy" yes funny but moving on, have you ever wondered why Wylan was up there in the first place. Because the last he'd seen of Jesper was him being yelled at by Colm to explain what was going on or Colm would "tan your hide so bad you won't be able to sit down for two weeks". Everyone else finds Jesper getting full government-named very funny, but to Wylan this threat would not seem empty - that is just what happens when sons make mistakes. Consider that he wanted to check on Jesper, to see if he was alright, because though it's not really addressed directly, the story gives us several moments of Wylan not trusting Colm and trying to "protect" Jesper from him. Wylan had been isolated to the point where he only knew one father-son relationship, or even one relationship at all, which was between him and Van Eck. Why would he trust Colm? Maybe he just wandered into the room for a silly plot convenience, but I think he was there to assess the damage and be there for Jesper in case the thing that happens between fathers and their sons happened to him.
80 notes
·
View notes
thinking about writing a battinson fic with a bit of a friends to lovers situation, you end up having to help him get his shirt off when he comes knocking with a dislocated shoulder and well that’s the first time you’ve ever touched him so close and suddenly you’re both catching feelings 😌
33 notes
·
View notes
god I know this is like The Wrong Stance on AI. I know its not about whether the art is Real and Human or If It Has A Soul and how a lot of the arguments against it are the same bullshit arguments people made against digital art like I Know. I Knowwww. but god, I'm really sorry, not to post like one of those annoying poetry bloggers I cant stand (yall are valid, live your truth, theres nothing wrong with what you post I'm just a petty bitch who hates poetry. unless I dont hate it.)
But theres just something about the way AI art will almost certainly never be able to mimic the exact way my pencil leaves an indentation in the paper, the way some of the lines I can never fully erase cause I pressed too hard, theyll have to at least train them to draw with a physical pencil first, and sure, they could train it to draw with a pencil and even erase the exact same piece I drew, line for line, on a piece of paper with a robot arm powered by AI, but they can't replicate. idk. the lineage of lefty bitches in my family, and the way I grew up going through school with my entire left arm silver with graphite, from doodling on my schoolwork. not yet anyway. but I guess I do live for the day we make the ai sentient enough that we can traumatize it by giving it homework after kneecapping its executive functions so it copes by drawing a big tiddy lobster monster. sure
8 notes
·
View notes
Bg3 is insanely fun to me so far. very early in the game but knowing ive barely started makes me excited at the prospect of more cutscenes, quests, and character interactions..!!!
i was just talking to my friend about how easy it is to REALLY project yourself into the game because of how authentic and variable the character + spatial interactions are and i was like. oh god i would not survive in this world. i think for rpgs in general i will never not be able to separate myself from the chatacters i play as just because i control them. but they will always be a separate, well established character with just a bit of me in them. it's different in bg3 because of how my personal ideologies affect the storyline and characters around me, and i think it's really interesting playing a game where your character and the world around you arent narratively static or fixed (it also helps i customized my paladin) It feels real! and this isnt new, it's just very novel to me as someone who doesnt play games like bg3, and i wonder what other games offer this immersion? my only exposure to open world rpgs are genshin and botw/totk but they cant really compare because genshin has a linear storyline and you dont really influence the characters and teyvat because the narrative is already laid out (and it also clashes against the game's open world mechanic which makes the world feel, at least to me, very synthetic). botw is more of an exploration game since its whole point is testing the limits of open world. so it's not super story driven imo, not to say it doesnt have a solid story. but i love these games dearly, and bg3 offers a really satisfying and fulfilling extension to what i truly want in an rpg
but anyway that was just a tangent but basically i told my friend how my paladin pangy is kind of.. stupid. *I* am stupid. HAHAHA i happen to fall for a lot of schemes and am easily deceived. astarion killed me because i didnt shove him away after letting him bite me, afraid he might die of malnourishment. got pickpocketed by a kid (and my character ironically failed the perception check TWICE. i had no idea what was going on until my friend in call told me j just got robbed). believed the fake sobstory of the paladins who attacked karlach and had to reload my save slot so i had the upperhand. i have 0 survival instincts...it's almost ridiculous but also incredibly funny. it made me realize that this is a game worth taking seriously (and that im just. really clueless 🧍♂️). but the experience is fun, and i like how the stakes are high (for the most part). i have Got to get my shit together i cant get jumped like this all the time
13 notes
·
View notes
Something that I’ve been thinking over and over as I watch MASH is the way in which a lot of modern mainstream TV seems to portion out touch like it’s rationed. People don’t touch each other casually/often/like they know each other well, especially if they’re not romantic partners, and especially men
and in a lot of stuff I’ve seen the touches that do happen tend to feel scripted, like here’s a moment where someone is “allowed” to express a tactile moment, which is weirdly jarring somehow, especially when characters are meant to be incredibly close to one another
On MASH people might casually brush a hand against a shoulder or slap someone’s back or hug deeply or hold onto each others shirts as they speak etc. and I assume some of it is the actor’s natural instinct to communicate in certain ways through a character (sidenote: Loretta Swit ruffling Alan Alda’s hair in “the smell of music,” thank you for doing that service ma’am), but I’m a big fan of watching a scene and wondering if that take was directed exactly like that or if xyz came out of tight shooting schedules and no retakes or if this thing is just indicative of the relationship between the actors and filtered through the character dynamics
I just think if you’re creating something in which people are meant to be very close they should touch each other, unless there’s a distinct character or plot reason not to
I feel like I’m touch-starved by proxy and now this show is overwhelming me with tenderness
59 notes
·
View notes
"Don't touch me!" From the angst/hurt/comfort prompts 👀
Hehehe I’m using Margim and Celeair for this bc I was actually planning to write this interaction in Bitter Ash and Stubborn Flowers SO! You get a sneak peek of the chapter after next! (I think? That’s probably where it’ll fit in)
also I edited the inflection on the initial prompt just bc I think it sounded more natural in the context that way
48:
“Don’t touch me.” Margim commands, grasping my hand tightly –though not enough to hurt– and pulling it away from the wound on her shoulder. Her voice was stern, and though it seemed devoid of fear or anger, I am still startled by it and do not know the words to respond.
“The last time you tried to do that you looked like you were about to drop dead afterwards,” she continues in a matter of fact tone, releasing my hand “do not waste your strength on a wound so small, save it for dire need.” she looks at me plainly, “I have survived worse with less care.”
I must reluctantly admit that she has a point. I had been trying to block out the memory of the grasping shadows I encountered the last time I tried to call upon the healing arts, but perhaps that was foolish of me. It is dangerous to open my mind here, in this land so dead and cruel, yet I still instinctively tried to do so. It feels just, so wrong, to see an injury and refuse it care– even if it is for my own safety. It feels selfish. Still, Margim told me to do so, and I cannot tend to it without her permission.
“Alright, I will not use any of my strength on it,” I concede “but you are still hurt. The wound may not be serious now, but it may become so if I simply ignore it. At least let me try to clean it, so that it will not become a dire need in the future.”
“...what future?” she mutters quietly, a question that did not seem directed at me, spoken as if she already knew the answer.
“The future outside of Mordor, in Ithilien and beyond.” I answer anyway.
Margim is quiet for a long moment, her expression unreadable. “Tell me, Celeair,” she eventually says, “was any of that real? What you told me about your homeland?”
“Of course it was. What reason did I have to lie to you?”
“None that I know of, but a madman needs no reason.”
“You think me mad?”
“A little bit.” She says flatly “I do not know what else to make of you.” I do not take offense at her words. I guess my descriptions of the outside world would sound a little mad to someone who has only known this blasted and evil land.
She pauses, a conflicted look on her face “…I hope you are not mad, though.” she quietly adds.
“Well, you have humored me this far, will you allow me to tend to that cut at least? So that you might survive long enough to see for yourself whether or not I am a madman.”
“I still think it unnecessary.” She sighs, almost sounding defeated “but… I will allow it. I have humored you this long, after all. What difference will another day make…”
“Maybe everything.” Or maybe nothing, but I will not speak of that possibility.
9 notes
·
View notes