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#Critical role episode 11
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What have you discovered about your character that has surprised you the most?
I am so desperate for Laudna and Ashton to talk more
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topaz-mutiny · 6 months
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Thinking about Allura Vysoren and how she very almost didn't show up in campaigns 2 and 3.
A very unlucky roll familiar to Bells Hells nearly sent her (and Kima) to their death. A very lucky roll familiar to Bells Hells allowed them the chance of being saved by Vox Machina.
Just thinking about it. About how she almost wasn't here to see Bells Hells. :')
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So I’m back on my Critical Role hyperfixation, finally making it to episode 12 of C3
I just wanna say, I love Dorian and Chetney’s dynamic. Well, I’m also just very quickly becoming a fan of Dorian and Chetney in general. They have such a similar personality in such opposite ways, I love it
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thelavendersquid · 1 year
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I love that Molly takes offense at being called normal
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bellowsthebard · 2 years
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You know it is an intense episode when it took me forty-five minutes to realize Sam was in his pink live show costume.
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personalvirtualmuseum · 11 months
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hyperfixation is a great power, but a dangerous one. use it carefully, for it may destroy you.
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kouichikimura · 2 years
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Yes that is what it is.
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Laudna and Imogen are each other's tethers. Even though we've only seen Laudna for a moment, how does she feel not knowing where Imogen is?
How are you enjoying having Pate as a familiar?
What was it like experiencing Imogen's dreams with her? What would Laudna have done if she had been able to act more within them?
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I love Lord Eshteross. I hope he doesn't turn out to be a baddie or die or something.
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diabeticgirl4 · 1 year
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I'm in the middle of cr ep 40 and fsljdflkf it's so intense aaaaa
like I usually try to finish an episode by the end of the night but this one is just so. hoo boy. I think I need a breather before I get back into it tomorrow.
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Vash and Femininity: Trigun Stampede and its Themes of Bodily Autonomy, Exploitation, and Vague Gender Fuckery
alright sit the fuck down. we're gonna talk about THEMES
I was on Twitter- terrible idea usually, but a couple people I follow made some tweets that got me thinking about Trigun's overall themes, and here we are. So let's talk about some themes in Tristamp! And I'll take a couple looks at Trimax as well, just for fun :3
Let's look at how the showrunners utilize gender roles and exploitation of feminine characters to show how unhealthy Knives' obsession with his ideal of Vash is, and how horrific his exploitation of Vash and the Plants is.
Vash, from the beginning of Tristamp, is someone who cares about people's choices. When people kill others in front of him, he reiterates that whether someone lives or dies is not another person's choice to make. This is something he learned from Rem (a prominent female figure in his life). He refuses to kill people because that is not his choice to make. To kill someone is the ultimate removal of their bodily autonomy. They can no longer make any choices at all; they're dead.
Vash is also someone who has almost no choice in what path his life takes. He's constantly dragged around by outside forces, namely situations that are caused by Knives (which we'll get into later). Vash doesn't make things happen, things happen to Vash. The majority of events that occur are not his fault. He's pushed and pulled in a thousand different directions. His entire life is completely out of his control.
This can be seen as early on in his life as the Fall, something he had no control over and had no idea he even had a part in. Even later, in the ship with Luida and Brad, after he's been rescued from the desert, he's kept in handcuffs right up until he's shown to be of use to them and the Plant on their ship. After that, he could theoretically say "no, I don't want to go to other ships and heal their plants," but he doesn't. He's Vash. He's helpful and nurturing at his core, and these people have done so much for him just by letting him stay, so he'll do whatever they ask, no question.
This carries over into his adulthood. At Jeneora Rock, he goes to look at their Plant at one simple request, doesn't protest when he's dragged into a duel-- he doesn't take initiative unless someone's life is immediately at stake. He lets people tell him what to do and lets himself get dragged around by the wrist. He doesn't even pretend to have control over his life like Trimax Vash does, which I mean. Fair. Why pretend to have a grip on your existence when it's impossible to do anything without a gun pointed at your head?
Vash is a very passive character. He's nurturing, kind, gentle- he's a guy that fits a lot of very typical feminine character stereotypes. If you wrote this same story but made him a woman, I wouldn't bat an eye (but I would definitely be looking at it a lot more critically, what with the amount of stereotypically nurturing/motherly female characters in media already.)
This contrasts directly with Knives. He makes a decision and carries through no matter what stands in his way. He takes initiative. If Vash is a passive character, Knives is an active character. Wherever he goes, he leaves a lasting imprint. He makes shit happen! If outside forces make things happen to him, he'll go out of his way to make sure that particular force doesn't affect him again.
These two tweets I saw are what got me thinking about this originally. I just feel like here's a good place to put them as a segue into talking about episode 11.
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Episode 11 is where a lot of this feminine imagery really just. Explodes in your face. IT'S RIGHT THERE. You can't dance around it if you try. And it kind of reaches a peak when the connection reaches 100%, the gate opens, and. well. THIS happens to the Plants.
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Plants, in both Trimax and Tristamp, are almost always typically feminine-looking. Knives and Vash are the only two who are male or even masculine at all. Knives, as the most masculine out of all of them, is the one trying to take charge, and mould the world as he sees fit, to a degree that is detrimental to both him and everyone else. And Vash-- passive, feminine, kind and nurturing, whose Angel Arm in the manga always sprouts decidedly feminine-looking Plant parts-- is the one being exploited for Knives' plans. It's no mistake that they made the giant plant formation at the end of ep 11 look like a giant woman that almost resembles Rem.
Vash wants people to make their own choices and keep their autonomy when it comes to their bodies and lives. Knives is the exact opposite. He wants all Plants to become independent and he uses Vash to achieve that goal, without asking what Vash wants or even knowing what the Plants themselves would prefer. He exploits Vash for the soul purpose of trying to make these Plants have Independent Plant babies. He's completely incapable of seeing that his choices are not for the greater good! He thinks he's saving them, but none of his actions are for the good of anyone but himself. He’s just violating them for his own gain.
They're really leaning into gender roles for these guys, but in a way that screams "HEY, LOOK AT THIS! ISN'T IT FUCKED UP? LOOK AT HOW FUCKED UP THAT IS. LOOK AT THIS, AND BE UNCOMFORTABLE, AND KNOW THAT IT IS FUCKED UP."
Because it is! It's so extremely fucked up. They're using this imagery and these roles, something that makes most of us intrinsically uncomfortable, to drive home how unhealthy Knives relationship with his ideal of Vash is. That's the point. We're supposed to be uncomfortable with this.
Now of course there's some nuance to it. Like, you could see Knives as somewhat of a feminine and/or queer-coded figure as well, ESPECIALLY if you look at some of his panels in the manga, which could in turn lead to themes about infighting and control within marginalized communities, but that might be something for another post. :3
And there's definitely different ways you could take this! Vash, with all this feminine imagery, could be either transfem or transmasc coded, depending on what way you'd rather see it, which could lead into themes of how people outside the norm constantly face a lack of bodily autonomy and are exploited for purposes outside their boundaries. We could also look at Wolfwood and his lack of choice over joining the Eye of Michael and becoming the Punisher, and how masculine men (particularly men of colour) are often forced into violent roles against their will. If we look at Trimax, the exact same could be said for Livio/Razlo and people with disorders such as DID/OSDD.
There are many different ways you could spin these themes, some of which I don't feel personally qualified to discuss. If anyone who is qualified to talk about Wolfwood or Livio/Razlo or even other characters related to these themes, then god PLEASE add onto this post or make a post and tag me or something. I would love to read it!
Anyway, in conclusion: Vash is a feminine figure constantly taken advantage of and exploited and and he's so incredibly trans/nonbinary-coded that it drives me insane. Thank you
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the-french-belphegor · 10 months
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Finished! Oh man, this took me... two months? Three? So long. But the idea wouldn’t let go, so ¯\_(ツ)_/¯
As I mentioned before I watched bits and pieces of the 1st campaign of Critical Role before going back to the beginning and watching/listening to seriously (I’m now starting episode 74!), but one thing that struck me was the character growth for all these characters?? So good. And these two... oh, these two. I started thinking I wanted them together any way, romantic or platonic (about... 6% of my ships are romantic?), but as time goes by I just love this ship, where it started and where it ends up in the epilogue. Plus... y’now, a couple of slightly bruised souls finding solace in each other 💜
I remember a fic that covers part of Scanlan’s year and a half away in which he gets... self-conscious? (understatement) about his death scars, if only because, well. They have to take up a lot of space on his body, considering what happens to him in “The Deceiver’s Stand”. (I have this headcanon that the scars from wounds that cause death don’t really fade like other scars do. So what these two have gone through left a hell of a mark. Physically, too. Pike knows a lot about scars, the forms they can take, and the weight they can have. And I wanted to explore her side of things from her own passing through death and resurrection.)
Another headcanon I have is that, once the dust has settled and they have to consider mundane things like immediate lodgings and stuff, Scanlan is the only one who doesn’t have anywhere to go back to: Vex and Percy have Whitestone, Keyleth has Zephrah, Pike and Grog have Wilhand’s house in Westruun... which has an attic that could double as a guest room with many a few repairs. It probably looks way too cosy and tidy for what I thought I’d do, but chalk it up to my inability to really clutter a room (unlike irl) 😅 The little frame behind Scanlan isn’t a random castle, by the way, it’s supposed to be Greyskull Keep. Wonder what happened to the place after the end...
Anyway. It’s 11:30PM and I should be in bed, so I’m posting this and hope you like!
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bixbiboom · 18 days
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The weekly schedule is out!
✨ Tuesday, April 9th, 3pm PDT: Spenser Starke and Matt will present the latest updates to the Daggerheart open beta, streaming on Twitch and YouTube.
✨ Tuesday, April 9th, 7pm PDT: Ashley, Liam, Laura and Marisha will be playing Ravensburger party games on 4-Sided Dive, streaming on Twitch and YouTube.
✨ Wednesday, April 10th: The next installment of Midst will be released. Episode 9 will hit YouTube at 10am PDT and your favorite podcast service at 5am PDT, and episode 11 will be available to subscribers at »Midst.co« at 5am PDT.
✨ Thursday, April 11th, 7pm PDT: Campaign 3, Episode 91 of Critical Role will stream on Twitch and YouTube.
Check out the details »HERE«!
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hana-no-seiiki · 26 days
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(yan) batfam and blood/marking kink except they’re paired with werewolf! male! reader
and it’s just that scene in critical role campaign three episode 11 when chetney transforms w/ an added cut to the guys going feral/horny in the background
and AUGH I WANNA DRAW THAT NOW AAAAAAAAA
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entrop-y · 1 year
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the real tragedy of spencer reid: a character analysis
the real tragedy of spencer reid isn’t any of the individual traumas that he suffered on the job, it’s that he became jason gideon.
think about it; the show begins with gideon returning to the bau after he’d been on leave due to his ptsd. ptsd caused by a mistake he made resulting in the death of 6 agents in a bombing.
throughout season 1, we see that spencer idolizes gideon. the way in which he idolizes him, however, is complicated. on one hand, spencer sees gideon the same way he sees rossi—pure hero worship. on the other hand, he sees gideon as a more than a mentor, as a father figure. this is less overt than people make it out to be in canon, but it’s true nonetheless.
in the first season, we see gideon mentor reid, with the goal of shaping him into the future of the bau, the best profiler they’d ever had. we also see the similarities between reid and gideon, though subtly, at this point. it’s established that gideon and reid understand each other (perhaps in part as a result of both of them being on the spectrum), in a way that the other members of the team, do not.
in season 2, however, we see gideon start to grapple with the implications and consequences of reid’s job at the bau. this is most clear when reid is kidnapped. at this point in reid’s career, gideon was supposed to protect reid; so naturally, he blames himself for his kidnapping. in “revelations”, when the camera cuts from reid seizing to gideon panicking in the bathroom, he is desperately trying to justify his actions to himself. he blames himself for what happened to reid, and it’s killing him. reid survives, but hardly unscathed, and gideon distances himself, likely, as a result of his own unaddressed guilt. people in fandom criticize gideon for this, but it is realistic. gideon is flawed, that’s what makes him compelling.
the most telling scene, however, is in the episode “jones”. reid finally confesses to gideon that he’s struggling. gideon responds with an ambiguous monologue about knowing the time to quit. when reid declares he’ll never miss another plane again, the look gideon gives him is not one of pride, it’s one of despair. it’s his realization that reid is too far gone, he has decieed to follow in gideons footsteps in the way of giving everything to the job, regardless of what it takes from him.
sarah’s murder was the reason gideon ultimately decided to leave the bau, however, his guilt over spencer’s torture and subsequent addiction undeniably played a role.
the show goes on, gideon leaves and ultimately dies, but both events eventually blend into the background—just another one of reid’s endless traumas. it is not until season 11, especially following morgan’s departure, is when we really start to see a palpable, negative change in reid.
until this point, reid’s character development seems mostly positive. he’s more confident and sure of himself both in the field and as a profiler, and as a person. but with the introduction of diana’s alzheimer’s, we start to see reid become overall sadder, more anxious, and more reserved. gone is his need to prove himself, but we see the beginnings of the toll that the bau has taken, one he is beginning to struggle to justify.
notably, this is especially clear pre prison season 12. emily and jj particularly seem acutely aware of the fact that reid is running himself into the ground at home, while desperately trying to keep everything together at work. then, once reid goes to prison, he never truly recovers.
while the show abandons any meaningful follow up about reid’s ptsd, it’s undeniable that after prison, reid is never the same. unlike some viewers interpretations of this version of reid as being more attractive and confident (more likely stemming from seeing reid as more “masculine”after gaining some weight and keep his facial hair), the signs really point to reid after prison being utterly depressed.
he has anger issues, which clearly distress him, and his heart to heart moments with the team are laced with an underlying desperation, exhaustion, and sadness. in short: reid is drained. the job has taken everything from him in a way he no longer knows how to get back.
the final episode, the show comes full circle, highlighting the parallels between reid and gideon. reid makes a bad call that results in the death of six agents, just as gideon had 15 years prior. if it weren’t obvious enough, reid visits gideons grave in his tbi induced dream sequence. in “jones”, gideon was terrified and guilt ridden over the prospect of spencer turning into him, but it is exactly what happened.
just as gideon had, reid gave everything to the job, and the job took everything from him. reid ended up a traumatized, depressed, workaholic with no real relationships—barring only his mother—outside of his job. like gideon, like rossi, even, reid was never satisfied, never felt like he had done enough, and all it got him was a lifetime of trauma and crushing solitude. by the end, the bau was virtually unrecognizable to what it had been at the beginning of his career. reid could never leave, despite the pain, the trauma, and the loneliness, his identity as a person and an agent were inextricable. by becoming jason gideon, reid lived up to what had once been his greatest hope, and gideons greatest fear.
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