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kindlespark · 2 months

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this is gonna be SO long and rambly sorry anyway i saw a post abt how babel does queer characters and it got me thinking abt why the tropes it uses would usually turn me off other stories but didn’t here

MAJOR BABEL SPOILERS //

i feel like i’d be more mad abt how robinramy ended up in babel if it marketed itself as queer lit at all or if its fans were going “WOW AMAZING QUEER REP” abt it. but no one told me any of that, so finding out they were gay was just a fun little bonus surprise to me. i get why ppl are eh abt robinramy not getting together/technically still being subtext (which i dont think is really true btw like the book literally says “robin was falling in love” but idk i guess if you were stupid you might’ve assumed that it was falling in love with oxford given how romantic some of the other language is (WHICH IS ALSO THE POINT bc i think robin’s friendship with ramy blurring into romance is why he romanticised like all his friendships/experiences in oxford BUT IM GETTING OFF-TOPIC)). i just think robin’s repression abt being gay was intrinsically tied to his attitudes on imperialism (wrt refusing to acknowledge anything that complicated his life until it was too late) and i don’t consider it a cop out or queerbait. like i genuinely don’t think robinramy could ever have gotten together without drastic alterations being made in terms of plot and character. plus i think it’s clear that kuang didn’t want to write a story with any kind of focus on romance at all, because it’s not that kind of book. there’s no successful het romance either, so it grates a lot less. the only reason romance is included at all is to show the ways in which white entitlement manifests. so the tragic way robinramy played out just made sense to me.

and i speak as someone who accidentally spoiled myself on You Know What in the middle of reading and i was like ugghh boooo dreading it the whole time expecting to roll my eyes when it happened but then when it did i was like. wow im actually not that mad LMFAO 😭😭😭 actually thematically the book sets it up so well that i believed that this was unfortunately the only way it could’ve gone. babel is about the loss and tragedy and grief that colonised people experience. it’s about the lengths people will go to to uphold empire and the lengths ppl will go to to tear it down like idk 😭 i guess it is bury your gays but it didnt bother me this time because i thought it fit thematically ❤️ i enjoy tragedy as a genre a lot and i would’ve made it gay anyway you know. thanks rf kuang for doing it for me so i didnt have to.

WHICH IS ALL TO SAY that i guess if you’re going into babel for the queer rep without appreciating that the story is fundamentally a tragedy it would feel like it’s just reusing tired tropes….. but i think the choices kuang made were rly deliberate and not in a way that feels like trauma porn or shock value. the book is fundamentally about the struggles of poc so the layer of queerness that was introduced felt like a subtle extension of the experiences of characters of colour in the book, and i enjoyed and related to it as a queer chinese person who kind of realised they had to prioritise their fight for the liberation of poc over queerness mainly because the idea of western queer liberation cannot be dissociated from imperialism and many aspects of homophobia as we know it was an export of christian european empire into our colonised countries in the first place and FUCK THIS IS A WHOLE OTHER TANGENT ABOUT HOW I THINK RAMY AS A CHARACTER IS EMBLEMATIC OF THE TENSION AND STRUGGLE THAT QUEER POC DIASPORA HAVE BETWEEN OUR IDENTITIES GODDAMNIT OK FORGET IT POST CANCELLED i just rly think babel’s handling of queer characters is fine and makes sense and i like it personally and maybe i will make a coherent analysis about it one day but that day is not today byeeeeeee

#/#//#sam speaks #byeeee ive been trying to type this post for over an hour but i give up #slashes are there bc i dont want it to show up in the main tag it’s rly incoherent and also subjective #babel #babel spoilers

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perenial · 10 months

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gene im so glad you said this cause I haven't seen anyone else comparing it to the book as source material for like character and tone but i am So sure that if terry was alive the season would not be like this but i fear good omens fans dont realise how big a factor the lack of terry's influence is?? or like they forget that good omens was never just neilman???

ok before i go any further: i rly don't want to detract from anyone's enjoyment of the season and everything im going to say comes from a place of love for a) the original novel (& season 1 to a certain extent bc it got me back into it lol) and b) tv as a medium so like peace and love on planet let people enjoy things etc etc

but

like u said, terry's influence on the book was enormous – what makes gomens gomens is the balance of his genuine warmth and precise understanding of humanity tempered with neilman's sardonic voice and general like.....savvy approach to storytelling? i guess u could call it? anyway what rly helps the book is that it took them years to write it, passing ideas back and forth and rewriting each other's work until their voices blended seamlessly and a well structured capital-s Story was created. when i praise the book for being self-contained i think a huge part of that comes from the circumstances in which it emerged: two authors with complementary styles writing in a v particular time period where they had both the space to play with their ideas and the constraints of the novel as a storytelling format from which to craft something extremely specific.

adaptations are a tricky business and a tv version of gomens produced literal decades after the book was always going to have some unique challenges, but i don't think that's a bad thing bc the challenges could prove to be creative opportunities to take both the established audience and those new to the story by surprise. my biggest hot take here is that i don't think translating a story into a different medium means it has to follow the original narrative exactly, bc each medium has its own ways of communicating information and these structures, rules and traditions in turn inform what that story is. what matters more than following a story beat-by-beat is capturing what that story is about at its core, what themes and messages and ideas it works through and how.

all this is to say i never expected tv gomens to be a perfect reproduction of the book and if it had it been, it probably would have been worse off for it. that being said, there are parts of the book – like u said, its tone and character – that needed to have some fidelity in order to pull it off, and for the most part s1 did that bc it was still working predominantly within the bounds of the novel & its core ideas. while i did have some issues w how neilman & amazon adapted some details and characterisations, i generally rly liked s1 – it reminded me of why i loved the book and it was just generally fun to watch.

s2 was. not that fun to watch

a few positives before i go ham w the critiques:

the hair & makeup + costumes were fantastic (although i feel like s1 was slightly better re: makeup?)

the sound design & score made some of the more awkward scenes bearable and thats no mean feat imo

david & michael gave incredible performances w what they were given – michael especially managed to salvage aziraphale enough that his complete 180 didnt feel completely tonally dissonant (more on this later)

the detail of the sets is NUTS and i genuinely want to see more of hell bc of how intricate and fun the props look

i actually like gabriel/beelzebub!! their getting together montage worked for me, although they could have spent sliiiightly more time establishing what it is they like abt each other so much + why gabriel wanted to stop armageddon 2.0 so suddenly

the opening scene, although not on par w the novel's & s1's, was visually gorgeous and thematically resonant (although neilman owes me royalties for ripping it off from this shitty fic i wrote back when raphael!crowley was all the rage lol)

now w THAT being said:

like i said yesterday, the pacing was fucking awful. flashbacks are hard to work w at the best of times and the way they were used in this season felt so needless, especially the 40s one in ep 4 that takes up like 90% of the episode. in both flashbacks + present day there were scenes that dragged for no real reason, dialogue that looped back around on itself to stretch out the runtime, and weirdly enough places where there should have been character & plot work where there just,, wasn't any?? for example, maggie & nina's night locked in the café – some parts of the dialogue in later episodes made out that they'd had some rly deep conversation abt how they feel about each other or even that they'd had an affair, but that isn't clear from those scenes in the café. i'm not saying we had to see that conversation in its entirety but that there needed to be more connective details – either in dialogue or direction – that gave that part of the story coherence.

(there were pacing issues w the editing too but i don't want to jump down the editor's throats on this one bc im more focused on writing & direction issues)

the second major problem that i mentioned in my tags yesterday is the protagonist shift, which is an issue that started in s1. aziraphale & crowley are side characters in book gomens – significant ones, yeah, but still somewhat peripheral to adam (& anathema who counts as a deuteragonist imo). this works incredibly well w who they are as characters: they're Just Some Guys who happen to be involved in this epic biblical-level bureaucratic nightmare and importantly, they don't want to be in the spotlight. the arrangement was created so that they could explore what it meant to be themselves away from the Big Narrative; literally any time they get involved in larger affairs is bc the plot is alive and caught them unionising on company time. the last fucking chapter is adam (& god) being like haha u guys are alright keep it sleezy and letting them go. like. hello. neil u let them go.

but then!! tv gomens s1 does something interesting at the end w the body swapping addition that i dont totally hate – it gives aziraphale & crowley the extra bit of character work that brings them slightly more adjacent to their book selves. see i kinda view tv a/c as the younger, less settled versions of book a/c; they're still caught up in the immediacy of being key players and haven't fully realised that earth is their home. i haven't watched s1 in a while but one scene i remember rly clearly is crowley throwing all those astronomy texts in the air and angsting abt when he was an angel; i remember it bc his anguish in that scene feels a lot newer and rawer than book crowley's feelings about falling. when tv a/c do their bodyswap, it gives them the chance to land a blow against heaven/hell in a way that solidifies their allegiance to earth in a way that more closely resembles what book a/c have been abt the entire time (still adjacent, though. not parallel).

the reason why this works is that it does one final pivot to orient aziraphale and crowley as almost-main characters in a manner that makes sense in relation to a) their book selves and b) the position the tv show has placed them in. a combination of factors made tv a/c feel a lot less mature than their book counterparts but at the end of s1 they're sort of facing the same direction the book ended in, albeit through their own flashy late 2010s means.

when s2 was announced i was.......apprehensive bc to me, that felt like a satisfactory ending. i get the impression that amazon saw how wildly successful the adaptation was and was like oh shit we could make way more money out of this and neilman, having all those undead darlings that he and terry killed in the process of whittling the book into a workable novel, jumped at the chance to resurrect all those half-realised ideas. but not only were those ideas probably discarded for a reason, they've either been laying in wait for years unworked or they're new inventions, which means they weren't molded in the way that the book had been. like i said before, book gomens underwent years of rewrites and creative collaboration, and i think that process was what made it so good; s2 didn't have that. even if some of terry's ideas made it into s2, his influence is still missing bc he and neilman weren't in dialogue the same way they were in the book (and in some ways s1 bc i know terry was involved in the process of adapting gomens to screen before his death).

i don't think it's a case of newer fans forgetting terry so much as it is the context of terry's involvement being so removed from the current circumstances that certain aspects & discourses (i.e. is the s2 finale queerbaiting (no), does binge watching change the viewership experience (yes), etc etc) about the show overshadow other discussions that would usually be taking place. and before anyone says it's a case of neilman forgetting terry, i definitely don't think it's that either bc thats. yknow. wildly disrespectful. but also there are larger systems and structures at play than one writer no matter how much beef i have w him and his decisions, bc ultimately he's just one guy (a powerful and wealthy guy, but just a guy) and there's a wider cultural shift happening rn towards rehashing old stories without understanding what made them successful in the first place, and that same culture just doesn't allow for much, if any, constructive discourse analysis

so yeah

#replies.txt #Anonymous #god this is so long and rambling i hope it makes sense lmaooo #i have further thoughts on the general fic-y feeling of the season but that wasnt rly anon's question so i'll save that for another time #good omens #good omens spoilers

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goldensunset · 3 months

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i'm curious, do you have any thoughts on whether its more narratively fitting for n to have zekrom in black or reshiram in white? its been a debate for ages, i'm personally on the zekrom side and dont really understand the reshiram argument

OOOOH ok i think i did overhear a snippet of that debate on your blog a while back but of course i didn't understand any of it yet. i have been thinking about that... my first instinct would be to agree and say zekrom the dragon of ideals is more fitting. buuuut i really do think you can argue both ways so i will do so here

so! truth and ideals. what he wants and what he thinks is true. what he wants, deep down, is undeniable- he wants pokémon to be happy. that's his ideal world no matter what. what he seems to want specifically is the separation of pokémon and humans. that's the ideal that he works toward, and it's because he holds a misguided view of reality. what he believes to be true is that keeping pokémon is abusive. because of this factoid, because he firmly believes the world is a certain way, he feels spurred to action to remedy that. he values that which he perceives as truth and wants to bring it to light. both truth and ideals are therefore thematically relevant to him because they line up- hold firm to the truth you know, not letting anyone else tell you otherwise, and let it drive you to make changes for the better in the world and seek your ideal.

BUT. does he really believe that idea about abuse to be true? at first, yes of course. but as he says- from the moment he begins traveling the world, and more specifically upon meeting the player- he begins to notice that pokémon seem happy with people. he doesn't understand. this goes against everything he had been told about the world. so, do these experiences make him change his mind about what the truth is? maybe bit by bit. does he admit the error of his ways and step down and step off? NOPE.

and that's the crucial bit. the real, actual truth is right there in front of him but he can't bring himself to acknowledge it. he has committed himself to a certain ideal and he's going to see it through or fall gloriously while trying. he's set his heart on conquering unova and making it perfect, bringing about the noble ideal of happiness for humans and pokémon alike- except by now he knows that's founded on a lie. would reshiram, the dragon of truth, really accept him as a hero with that sort of dissonance in his heart? or would it rather accept the hero who truly does understand and accept the way the world is, as a mixed bag of good and bad?

but on the other hand you could argue he's well aware of and in acknowledgement of the truth. he truly has witnessed the abuse of pokémon before. that isn't a lie- it's just a statistical minority that he's only just now finding out is a minority. but even if it is- for a guy who loves pokémon that much, that's completely intolerable. it doesn't matter how many trainers are good people- even one hurt pokémon is one too many. it's not worth the gamble of continuing to let it happen. so even if he has witnessed the truth of the majority of the world now, his truth isn't all wrong either. it's still very much significant to him. he has a fuller understanding of the world than most do, as someone who's seen both the good and bad of it. and he does admit something like this to the player at mistralton- he knows they're a good and kind trainer, but still says the separation needs to happen, even though that would bring about injustice to good trainers.

in this situation, he can probably recognize that there's both something to be gained and lost either way, whether trainerdom continues or not- and also that those two aren't necessarily equal. there will be pain for certain pokémon if it continues, and there will be pain for MANY people and MANY pokémon if it stops. maybe in that situation after having travelled the world he can understand by now which option is truly better. which is the real ideal world, the lesser of two evils. but that sad fact of pokémon abuse is so significant to him that he'd rather still forgo the world as it is now. he clings so stubbornly to a certain truth that he forgets to look at the big picture of things and consider what really is ideal.

in the end though the question is, i guess- which is more thematically fitting for him to fly off on and keep as his best friend? he's learned his lesson in the end that he was doing the wrong thing, and determined that the two dragons representing truth and ideals don't need to fight. but even so it's not like the two dragons reunite. he still stays with one. and he still lost the fight to the player with the other one. so the real question is, in the greater scheme of things, which one won the fight narratively? truth or ideals? what lesson did he learn? what lesson did we learn?

SIKE i think that's taking things too far lol. like i said it could go either way and also they don't need to fight. and the dragon isn't purely symbolic it's also like his bestie at that point of course he's gonna keep it even if he's a changed person lol. anyway hope you enjoyed my academic essay i only completed my degree in this particular field of study about 18 hours ago so i hope i'm qualified enough to talk about this

#mwah! i love getting way into stuff like this i'll write meta for days #i still think i lean towards him having zekrom but like i meant everything i said here #you can frame it both ways #pokémon #asks #claitea #bw

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homestuckexamination · 3 months

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okay, you do homestuck, right? ive got this project idea in the works. basically, its homestuck, but thematically inverted. i havent actually finished homestuck, but I made it a long way in, to around Dirk's Derse Coup. i have some questions if you dont mind.

first of all, ive observed thus far that Homestuck id about discarding yourself. characters gradually lose defining traits and get closer to the platonic ideals of their classpects. strife specibi seem to represent that which ails our heroes. to become a god, you must sacrifice your earthly waking body on a magic bed, succumbing to an endless sleep to live forever within a dream. for my version, I wanted to do the opposite, having characters become more of themselves instead of less, and kill their dreamselves to truly "wake up," but first i need to know if these observations are actually valid if you read the whole story, and more generally, how valid is this idea?

any help would be appreciated, thanks!

Now let me preface this by saying: You can do anything at all. You're not restricted by anything other than your own creativity, and largely speaking, so long as you think it's cool/works, any approach is valid. Similarly, Death of the Authro, yadda yadda, there's all manner of divergent readings on a text. So anything regarding personal projects is really largely up to the taste of the author.

That being said, if you're asking me on my take on this theme in the text of Homestuck, I'd say that while you've definitely noticed one of the Big Themes of Homestuck, I'd argue the way Homestuck goes about it is the inverse- Taking the 'Platonic Ideal' of a character, while some characters that achieve Ultimate Self status are in fact better off, namely the Sprites or those sidelined in some way, the loss of self that comes with it is largely showcased as a Bad Thing in the instance of those who already were more important/relevant to the main cast. Even then, and while intrinsically tied to their Classpect, the characters still have their own particular spins on the Classpects- A Classpect is too broad a concept to have a singular 'Platonic Ideal', just as often times the Platonic Ideal of their character can contain contradictions in the 'whole' of their existence!

Homestuck is, first and foremost, a Coming of Age story about Teens growing up into Adulthood, with all the pain, trauma and baggage of carrying the legacy of their world, and their families, on their shoulders, in one way or another. SBURB wants the characters to go through an Arc, develop, and become worthy gods, but as we see time and time again, this is not always necessarily in a character's best interest, and the idea of the Self, what makes you You, if you're still You as time passes, as your body changes, as you become something metaphysically completely detached from what you used to be, and how this affects your interpersonal relationships and your relationship to the world around you, is far more complex than simply 'discarding traits to become closer to your Classpect's Platonic Ideal'.

You succumb to sleep in the Quest Bed, but simultaneously, you do wake up as your Dream Self. Whether you take this as being taken by this Platonic Dream, or truly Waking Up to the true nature of your existence, that's a matter of taste and views. Likewise, this doesn't make the characters that didn't God Tier or die and become their Dream Self any less likely to undergo changes to their Self and 'wake up' in their own right.

It's a complex story! It tackles a lot of themes of the self, agency, growing up and the like, and that is always messy. Some are happier becoming something else. Some cling to what they were. Some were always hiding what they truly were. Some are still figuring out. And that's fine. The metaphysics of SBURB are a device to explore the different ways all of this affects the characters! So the most important thing I'd say is less the validity of the observation in regards to an Inverted Version of Homestuck based on your views, and more:

How would this scenario affect the characters differently, and what new hurdles/feelings/predicaments would this create in their development and the story?

#Homestuck #HSE #Dream Self #Class #Aspect #Prospit #Derse

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kuiperror · 3 months

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TELL ME ABOUT THE CHIPMUNKS LORE. pretty please.

1st thank you for indulging me (even tho i asked lol) 2nd.maybe dont open this unless you want to get blasted with useless information + unimportant yet dearly held opinions + offtopic addendums + true sincerity. i tried to hold back guys im sorry. hold onto your hats im getting fucking crazy in here

firstly ill summarize and say that my "version" of the story of aatc [1] is basically just an idealized version of the "lore" the 1960s version gave us (i say "lore" in quotations bc there was. none lol).

now a lot of my ideas concerning the "lore" of story are interconnected to my opinions about the actual application of aatc media in real life . for instance, the story is set, vaguely, around the late 1950s - early to mid 1960s, like the irl "run" of the original chipmunks records. i personally believe that, as a real media franchise, aatc really has no reason to exist within our modern world with the technology we have today [2] so aatc as a fictional story is affected similarly. along with that, when the story is played out in the context of 1960s america it creates a richer thematical experience as the themes are compounded and expanded on. [3] a lot of the themes that i consider Essencial to the story deal with acceptance of differences and familial love and questioning of ones own humanity and sense of belonging, both within oneself and within the family unit and within larger society, and conservative 1960s suburban america is just a rlly good backdrop to place all of that. so basically i believe in the Contextuality of 1960s aatc and i love to allude to those contexts within the story.

another thing about my version is that i allow it to be inconsistent both with itself or with real life, just cuz it doesn't really have to be. for instance, this story has a floating timeline and i consider the chipmunk's ages to range from 8 - 10 years old— theodore is 8, alvin is 9, simon is 10. (simon is the oldest in the 1960s era idc who says what, i will die on this hill) however at the same time i think it would make the most sense for them to come from the same litter, which would make them all the same age. so i consider the chipmunks to be different ages while also considering they were born at the same time. i do have an in-world resolution for this discrepancy [4] but you get what im saying: my version of events is a little fictional story for me and me only so inconsistencies like that can be brushed over . mainly so i don't think too deeply about the logistics of things (cuz i tend to do that to avoid any possible criticism cuz i am Afraid of flaw) . like i'll catch myself being like "but how does the development of a real 8yo match theodore's behavior? 🤨" and i have to tell myself "bro.. this is a fictional cartoon world ur literally talking about a talking chipmunk its Not That Serious it doesn't have to be that realistic dude" so i just say its my own little play place and i get to do what i want :)

my version of the backstory of the chipmunks is not really all there in terms of external and internal consistency, but it mostly resembles the 1980s series' backstory where dave finds the chipmunks on his doorstep. (see [4] for entire story) i think that the months after dave took them in were honestly a p dark period for the family. i don't imagine dave had good support system and i think the mental struggle of suddenly caring for 3 incredibly strange children all the while fearing societal reactions to them (which restricted him from getting the help he needed) [5] definitely aged him. ithink hes like, early 30s when the chipmunks arrive, late 30s when the timeline "starts floating"... not as young as most (?) fans/iterations interpret him to be. i think that, before "the chipmunk song" was created, dave had raised the chipmunks for like.. 3-5ish years. what i'm saying is that dave definitely took in the chipmunks out of the kindness of his own heart and not cuz he wanted to capitalize on their singing prowess (aHEM looking at a certain movie 🤨)

also, i like to accentuate the animal-ness of the boys by taking real world information about chipmunks and applying it to them :) in general its a little bit of a pet peeve of mine when ppl just completely disregard the animal part of funny animal characters... esp with alvin and the chipmunks bc thats like. Their Whole Thing . they are chipmunks ? why do you just ignore that 😭

now i have talked a LOT about angsty stuff but i do want to make it clear that legit all this stuff is the subtext and background for interactions shown within the 1960s chipmunk media. the chipmunks are still happy kids who have fun and goof around and piss off david !! its just that they have fears and their own Issues like any real person.

so yeah! thats my chipmunk lore!! ^^ i have a whole document about my version so im definitely. fucking insane about the chipmunks. if any other aatc fans are reading this please be nice to me 😦 i feel as though i am very much a weirdo in my sandbox all alone soo dont h8 me plz :)

and just to send it off with some silly lore here are some random headcanons for each character that i have taken straight from my lore document ^^

alvin: would 100% be a leash kid . just sayin (as a former leash kid myself)

alvin: takes after david musically— when he writes his own music and makes up little songs to himself it sounds very similar to the songs dave writes. alvin doesn't recognize this but dave definitely does :,)

alvin: insecure about his height and constantly reassures himself that he will have a growth spurt when hes older

simon: loves loves LOVEs non-conventional and instrumental music! especially those set in different modes

simon: astronaut kid he loves space and wants to b an astronaut . born at just the right time B)

simon: knows better than to follow along with alvin's troublemaking + rebelliousness, occasionally tries to push back, but often is just like. fuck it we ball and goes along with it, especially if its fun ^^

theodore: LOVES the technical aspect of music + the recording process . he will tell you all about the science behind how vinyl records work unprompted.

theodore: doesnt like to sing solos as much as his brothers do bc of past childhood asthma at age 3 and also because he can not stop himself from giggling when hes singing hes just so happy :)! (THIS ONE IS CANON 💥💥💥 SOURCE: UP ON THE HOUSETOP CHRISTMAS W THE CHIPMUNKS VOL 1 ‼️)

theodore: although he is the most naive of the bunch, he is not dumb . hes just a little kid who likes being silly !

dave: before taking the chipmunks in in his early 30s he was the world's most regular guy . wrote hits for other people, continues to do that occasionally into the boys's careers

dave: literally has a song for everything . he will do everything to a beat .

dave: embroiders and cross-stitches to regulate his anger + knows how to sew really well since he has 2 make all of the boys' clothes. (CANON ⁉️😍) also it was his decision to color-code and embroider their initials onto everything they wear lmfao

FOOTNOTES (color coded for your convenience!)

[1] - in this post i refer to the media franchise as "aatc" (alvin and the chipmunks) and refer to the actual trio of characters as "the chipmunks" to avoid confusion. i just want it to be said that i personally dont like to call the media franchise "alvin & the chipmunks" on account of the whole "uuu if alvins a chipmunk why is it called alvin & the chipmunks" joke, i personally prefer to call the franchise just "the chipmunks" as it is shorter and includes the 1960s era as for most of it the franchise went by several different iterations (if we lived in a perfect world the franchise would still be called "david seville and the chipmunks" . just saying)

[2] - back in the early 60s, combining pitch-shifted vocals and character-acting was an innovative technique that took real time, effort, knowledge and skill to achieve. but nowadays not only is the concept no longer fresh but literally anyone can create their own "chipmunk" vocals in a matter of minutes. the story & characters (also nostalgia) are really the only thing keeping the aatc franchise going, esp since that's what more modern iterations of aatc focus on rather than the actual music.

[3] - in the media outside of their albums (the alvin show & the dell comics, specifically) there is always an underlying theme of comparison between david and the boys and the 1960s concept of a nuclear american family. its not exactly an "Intentional" theme, it more or less comes with the (irl) time-period the original aatc media was created in. the seville household is, inherently, a subversion of the ideal of the "perfect family" that households were compared against and strived to be, even at the expense of their own comfort, ideals, safety, etc. this subversion can be played into for drama and angst in a richer, more plausible way than it would be if the story were set in a more modern time period, u know? but yeah i believe that, as a fictional story, aatc shouldn't be divorced from the context of the attitudes and values of what mainstream society thought a family should be in the 1960s.

[4] - essentially in my version of events, dave was given no information about the boys and he basically made up their ages. when david found them in his backyard, they were oversized chipmunks as large as your average cat. they all sort of acted like young human children, but they were a lot more... chipmunk than child. they could only babble— but the sounds were recognizable as human speech. dave was obviously freaked out and resolved to keep an eye on them whenever they were in his backyard. he really only resolved to take them in due to the fact that he could literally see them change throughout a single week. how i imagine the chipmunks' biology is that they are a mixture of human and chipmunk (not literally, mind you, more as a physiological, figurative thing) so they have the intelligence and development of a human while still doing certain things like undertaking hibernation, wanting to forage and stockpile and burrow, things like that. however their growth rate is incredibly fucked up, going from the actual size of a newborn baby chipmunk to the size of a human toddler within like, a year. with this rapid growth also comes more human-like intelligence. once they were actually living in his house, dave knew there was something human about them with these creatures so he couldn't just let them return to the wild, especially since they were becoming more and more dependent on him and more and more human-like as days passed... i definitely think there was a moment of pure clarity for dave where he realized like. wow, that's a child. these things are children. and they are relying on me to provide for them. they are absolutely attached to me by now. and i think i might actually be attached to them too. and thats when he decided to name them and truly care for them like any other human child. overtime the chipmunks slowed their growth rate and matched their developing rate with the same as an average human. the chipmunks don't remember much of their early childhood and nothing can really be disputed so davids word of what happened is gospel. And yeah thats their backstory basically. if you want more on dave's view point on the chipmunks and their fucked up growth process, you can read this post here :)

[5] - he overcame this, of course. he did not want the boys to think that he was ashamed of them. public school was a different story, however, and the boys were more-or-less in a state of homeschooling before the release of "the chipmunk song." knowing that most of their peers would actually look up to them rather than down upon them extremely reassured him.

#Dont look at me.#this is literally the most vulnerable i think i have ever been in my life.#please be kind i am obviously mentally ill 😭😭#um im not tagging this one guys. sorry #i am VERY afraid.#i will be tagging personal however. because this is literally the most personal i could ever get.#personal

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kozykricket · 7 months

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An Allay Revamp

Alright, I've mentioned I have issues with allays, some of them being nitpicky, and some of them being common complaints. Lets rapidfire address them. FYI, I am a big allay fan, they're super duper cute and i love the idea of using them for item collection for slightly less efficient but more whimsical farms :3 Issues: -Noteblocks dont really work as a "home block" because they have to be constantly (every 30 seconds) activated, and the whole "musical base" idea doesnt really work in practice, because you have to play the note so often and you'd also want a consistent dropoff location... (some say just let us tell an allay what pitch to listen for, but im cooking something better) -as much as the theming of amethyst = sound and allays liking sound fits, I don't feel like "right click with amethyst" is anything more than a band-aid-solution for getting more allays -allays can be frustrating to transport, even if they're really good at following you (i mean, mojang did a pretty good job, but i dont think any amount of fixes or buffs to speed can stop occasional questionable AI). also they get lost sometimes tbh but thats more of a noteblock issue, they just forget the noteblock -allays CAN still die, hypothetically, and i think giving them bonkers regen and health is the weird solution anyways, I think we can do better and have them revive, while making sense in lore. No more duplicating, but interesting renewability time! -i dont feel that its super intuitive who an allay "belongs to" like oh okay it follows *whoever gave it the item* thats... sure? eh Principles: -amethyst is too forced to just be Given to them -music doesnt really work in practice, despite being a little charming -lean into magical vibes -just make em work better -my particular take on some aspects revolve retconning a small bit of lore, potentially Now, TO THE REVAMP

Remember when people were asking about transporting allays and said "I wish we could store them in our inventory, that would help" Yknow, I think those people were absolutely cooking. I think we can go beyond just making books into "allay buckets" though! Rather than being close to a bucket, it would be a Summoning Tome; perhaps this would be a special book that you can craft, or books transform into tomes once you put an allay inside. Now, the idea is that you'd be able to right click to open or close the book, which would act as a summon. Whoever summoned an allay would be its "owner" (also, i think up to 3 allays in a tome could work maybe) What happens if I put away or drop the tome? It'd trigger the long distance teleportation, which I'll get back to. A failsafe of sorts, if you will Why summon tomes? - thematically I think it'd be very cool to use a book to summon them, for one, but I also think it'd just be very whimsical and... fitting! I think it'd also help allay safety. Why summon tomes? - Failsafes and overall Safety If an allay strayed too far from its owner, it would trigger a failsafe where it would drop the items its holding and teleport back into the book, and auto-close the book to let you know that it happened. The reason it would drop the items would be to prevent teleportation of items :p basically, I think it'd help allays not get lost, without necessarily giving them teleportation. they'd try to keep up with you to their best ability, but if they were just unable to pathfind to you, you could recall them intentionally or they would end up recalling if they just... really ended up nearly getting into like, an unloaded chunk. Why summon tomes? - If they die? ...and if they died, it would put them into the book and put them on cooldown for revival! bam, now you dont need to give them chunky health and regen! and you dont need duplication, either!

What about free roaming allays? How would they work? You could either release them from the tome, perhaps by shift right clicking, which would let them be free roaming and not bound to any player... or.... USE LECTERNS !! :D you could put an allay tome in a LECTERN and the allay would use *that* as the home block, and deliver items to the lectern, rather than needing a note block to repeatedly be activated. when a tome is in a lectern, you can close it or open it, by powering it with redstone or clicking it. this would allow you to recall an allay back into the comfort of its tome if you wished to reduce lag, etc :) I think the idea of a lectern holding a tome of allays as like, a summon-staff being held by a stand, in a way, is really fun :) its my favorite part of this all How would I obtain these summon tomes? So I said that we aren't gonna let you duplicate allays anymore, but 1) allays will still be renewable, even if you cant find any more 2) allays still can have theming involving amethyst Just wanna clarify that yes, allays would still be found in outposts and mansions, even if its a bit messy with the following lore retcon... So, we know that in official lore... well, we can assume that vexes arent just like, corrupted allays, and are merely similar looking because they're similar creatures in nature, perhaps born of similar... whatevers. and so they just capture the innocent familiars, and study and make their own evil ones. but i say while thats neat, id rather have vexes be corrupted evil allays SO we also know that raid farms are OP because totems really... shouldnt be renewable. so what if evokers dropped vex tomes? you could use them to summon vexes to kill anything attacking you, and they'd have anywhere from 1-3 vexes in them, so hey, raids make the tomes renewable. and you can probably see where im going with this: You'd have to purify the tome to get an allay tome! I think this could involve bringing them to a place of positive energy and vibes - an amethyst geode! Tada! We bring it back to amethyst because of the theming of sounds, and the chime-like sounds that allays make. Perfect! P.S They can still enjoy jukeboxes, as a treat. Noteblocks just arent used for their deeper mechanics double P.S (its late at night, i may Revamp this Revamp post tomorrow, by fixing up and restructuring a bit. but also i have school related writing stuff i should focus on lol. hope this is comprehensible and maybe brings you the same whimsy as when i imagined an allay tome on a lectern :D)

#minecraft ramblings #minecraft idea #minecraft allay #minecraft ideas

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onejellyfishplease · 6 months

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Heyyy, sorry if this is worded weirdly cuz my brains still booting up, but do you have any advise on starting comics/making them in general? Because I'm thinking of starting one and I don't really know what to do and I am very nervous about posting them if I do end up starting it and you seem pretty good at it and yeah

Hello!

Ill do my best to give some advice!

so if your talking about coming up with the storyline for a comic, them my advice would just be to start writing down your thoughts about it. they can be as detailed as you like. Not only does this allow you to get all your thoughts recorded so you dont forget, but while you are writing you are actively think about the comic and (for me at least) thats when you come up with more ideas.

If your talking about starting the comic via drawing it, Id say start a precedent on how you want your comic to look. this can be based on your preference or how much time you want to dedicate to each panel.

for example, a lot of my comics are quite sketchy and have very simple colour palettes, this is because i dont like spending a lot of time on one panel and by consequence i finish them a lot faster.

Also thematically, the first part/episode/page whatever should include some kind of hook, and present the concept youve come up with and get the reader interested. (of course this is still up to preference!) (i do this in a lot of my comics)

I hope this helps!!! and please know that i am not a professional in the slightest!!

#asks #searchingforthelamps #i love my mutuals

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relaxxattack · 2 years

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hey, so i still havent read knifetrick yet, but i saw the post you reblogged about it being about capitalism's treatment of disabled people. im aware that this is just one interpretation of your work, but did you consciously make decisions about what messages to send within your story? did you purposefully include imagery or motifs or references or anything else to create a particular theme or idea?

im wondering because im making my own story, and im curious about what others put into theirs. i have a few key ideas i want to send with it, so i'm trying to tie all my characters and their arcs and the symbols and everything in my story to it. my brand of autism tends towards the "everything MUST have a logic to it!" and this is an obvious influence on it, but i still also think it's worth putting a lot of thought into it because theyre ideas i really care about. i want curious readers to be able to look into my story and see how it all ties together, and i want to impart messages of compassion onto my general audience as well. i think that all art has messages within it, whether personal or otherwise, and by being aware of what those are you can create a stronger and more cohesive story. at least thematically. if that is what someone wants to do, of course.

i know knifetrick is a story you started for fun. there is absolutely value in that (in your own joy) and i dont think art without intentional purposes or messages is inferior in any way. but did you ever get an idea for an overarching message in your mind, and implement it? its cool if you didnt, or if you did but dont want to say what it is too btw lol. im kinda just looking for the experience & thoughts another author had with their own thing. (i am very nervous sending this ask. i hope i dont sound like im jumping the gun.)

do not feel bad for asking this question, i'm always down to talk about my written works, even if it takes me a bit to collect my thoughts and figure out a response. yes, the truth is i went into knifetrick from the start with a lesson/moral i wanted to explore and teach. a fun fact about me is that i have several younger siblings, who are often being taught things i personally don't agree with. having conversations with them about what is really "right" or "moral" is awkward and not really doable. but stories and characters have always been a good and safe way for us to have this discussion-- why did this character do that thing, what makes this bad guy bad, and so on. this is why with writing i don't just like to tell a story, but i also like to teach a lesson. as patronizing as that sounds, i kind of just think it's pleasing when stories have a good moral behind them. although they don't need to for me to enjoy them. but back to the actual topic, yes. i did intentionally choose to explore the idea of capitalism's failure of certain groups of people in my story. that is what the main plot is actually wrapped around-- there's the obvious struggle with the main character, ran. he is physically and mentally disabled, he is treated differently than his peers. in a way he is fed from a young age the idea that the only way he can be considered equal to everyone else is to have a use to other people; to be the hardest working member of the order. his society encourages this worldview so that they can take advantage of him, but they don't actually care about him at all. they would discard him if he stopped being useful to them. the second example of this is the other main character, jackie. jackie's society also failed to take care of him-- he was orphaned, and then immediately lacked a support system of any kind, personal or governmental. he turned to a life of crime to make ends meet and repress his emotions, but all that did was eventually make his severe depression worse and manifest itself in a lot of anger issues and lashing out. by the time ran meets jackie, he's attempting to turn over a new leaf and take this opportunity he's been given to make an honest living; jackie cares a great deal about the people around him. the missing children are failed by society in the fact that they go missing in the first place, and nobody has bothered to try and find them (although the blame for that rests mainly on watson's shoulders, seeing as he tricked the king into thinking that was being solved). scoots and clem are failed by society as well- scoots is denied the job she actually wants to have due to her disability, and they are very poor. obviously this is made worse when clem goes missing, and since no one else is doing anything, scoots stops working to look for her sister. possibly the most obvious examples i can think of are maia snail and laggius maximus. maia's children are both autistic, with one of the two showing much more severe symptoms than the other. she's dealt with this in the way she best can as a mother, which is give them things they can comfortably work on to get their energy out and be helpful without having to do anything they don't like. society fails them as well, in that laggius is killed in the pit. but the more important part of their story is something snail tells ran: "i would have loved my brother even if he was never useful a day in his life, because he deserves it". essentially all throughout knifetrick, especially through ran, we are shown this idea of usefulness as equivalent to worth; i.e. how capitalism teaches us to view ourselves. we are shown how faulty of a system that is through the various characters. eventually ran realizes that he does not actually have to do anything useful to be worthy of existence, comfort, or love, and that is the sort of “end moral” of the narrative. ran ditches the council, showing that he knows his own worth and refuses to be tied to people who only ever hurt him, and then jackie helps the king start to reform subbin’s systems so that less people will fall through the cracks as he did.

so yes, that is essentially how i explored the idea of capitalism failing disabled people through knifetrick. there’s likely more stuff that i forgot but that’s what i remember off my head right now. anything anyone else sees in knifetrick about this topic is probably fair as well, death of the author and all that. this is what i intended while writing but other people might have seen more things in other characters that i didn’t think of too hard.

i hope that helps.

(bonus: firefox completely froze while i was at the end of this ask and made me fear for my fucking life. it took so much waiting and minimizing the program before i could safely save this to my drafts and then close firefox. terrifying.)

#knifetrick #long post

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zeravmeta · 1 year

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being thoughtful about media and analyzing it as much as possble is very important and fun but a cornerstone to understanding and performing your own meta analysis on things is that you really do just need to accept that 90% of the times the writer did not think as deeply into the subject as you did and that doesnt devalue any of the weight you are putting into your analysis

writing meta on media and characters and themes and narratives are essentially exercises in connecting information based on what you personally took from it. people can share common ideas on what a piece of work is saying but ultimately they will have different interpretations based on what they have previously consumed and how they developed their critical thinking skills when it comes to understanding stories.

this sideblog is all about writing meta and the way i do it is by just considering what the overall thematic idea of a character is and what that contributes to the story, and i can definitely point to tons of examples from many different franchises on here, and ill also see analyses from people where they do an entire masterfully done literature review style paper essay with sources connecting back to mythology or contemporary works and its all incredibly well done. it's all just exercises in critical thinking and connecting information!

and ive definitely seen it in series that arent truly that deep. in series i personally think suck or do not consider that deep. hell, IVE done the same in applying far more thought and weight into my analysis of series that arent truly that deep, series i would readily admit arent that complex or 'deserving' of the thought put into them, but all of that is simply part of the fun in watching new things. this also applies to series' that i DO think are more nuanced and complex, because to someone else they may not be, and its not always solely because 'they didnt get it.' sometimes stories dont resonate with people thematically, and that in itself can color just how 'good' a series is to someone.

and when it comes to the authors of works, you as a reader can end up putting far more thought into what their story was trying to say then what the author intended, and thats the fucking point!!! sometimes it is that deep sometimes its not. what did the story tell you? did it align with what the author was trying to say? are you asking questions for the sake of understanding or for the sake of asking questions itself? what was the point? all of that matters! you need to eat words in order to acquire a taste for the words and when you get that taste only then can you truly appreciate or even hate it!!

no real point to this post but just remember that you have a shovel and digging in deeper into things you like is always an exercise in passion never stop growing never stop thinking never stop analyzing never stop trying new things to repeat steps 1-3 with

#that one post 'and i dont necessarily believe in any of this im just saying words recreationally' is one of the most important posts oat #not really inspired by anything just thinking abt meta on the meta sideblog. getting real meta about it #zerav meta

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kowaindar0u · 10 days

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1, 9, 16 for Yuichi, Sunao and Taikyuu, 18 👀 (@zantedeschia-praesul)

[ 20 QUESTIONS FOR MULTI-MUSE BLOGS! ]

putting under a cut cause it got long LOL

1. which muse is the easiest to write? i think yams, yuichi, and taikyuu are the easiest for me to write! i've been writing taikyuu in a couple verses since like 2019 so i feel like he comes to me easily. yuichi and yamatonokami i feel are quite similar to me LOL

9. what song do you associate with each muse? oh man. i have playlists for all of them i think so! letz go - Sengo: DDD by EXID i have always said that sengo would like exid a LOT, so here! (the lyrics dont matter just the VIBES and the DANCE) - Yamatonokami: Over the Sky by Dreamcatcher again i am always saying this song reminds me of tkrb in general but it REALLY reminds me of yams? (again, not rly lyrically, jsut vibes) - Fudou: It's Been a While by Staind typical grungey song lol but... any time it comes on when i put on his playlist i'm like. Dang. - Hachisuka: Two Princes by Spin Doctors not necessarily in any kind of romantic sense but naturally just the way he acts with regard to nagasone, the "pick me, why would you pick him?" kind of thing?? it doesn't really fit witht he specific lyrics just... again... vibes (noticing a pattern here...) - Taikyuu: ME by CLC i realized while looking at my playlist for him that a good chunk of it doesn't apply as much to him thematically in tkrb verse as it did in mortal kombat LOL (because indeed their backtories/circumstances/struggles are quite different) but this... i remember when this came out, during the time i was RPing him there for MK and just thinking how PERFECT it was for him. cause in all universes he is beautiful and he knows it - Sunao: honestly any song that feels like fall OR like laying in a sunbeam Put Your Records On by Corrine Bailey Rae honestly he's just a very mellow and sweet kind of guy, though sometimes he's got a just the teensiest twinge of sorrow. - Yuichi: lately it's for sure Talk Talk by Girls' Generation i already mentioned it on his playlist post but omg ...lately it's been really in my head a lot for... Reasons lol :eyes:

16. what is a plot you’ve been wanting to do for Yuichi? - I don't have any specific ideas in mind but it would be fun to do something where things get intense in, like, his capacity as saniwa. like shit is hitting, or about to hit, the fan so he needs to Do His Job LOL

16. what is a plot you’ve been wanting to do for Sunao? - honestly i think ANY plot would be good LMAO but i like the idea of him maybe interacting with either a less-than-friendly toudan, or one who's not in the best of moods. he's such a people-pleaser he'll do anything he can to help lol

16. what is a plot you’ve been wanting to do for Taikyuu? - HMMMM... perhaps one where he hurts someone's feelings and has to handle that, or vice versa. orrrrr ... hmmmm. i will always love him being protective of his fellow toudans, even if he isn't really fond of some of them... makes me soft lol. also maybe him dealing with some kind of Failure(TM) that kinda throws him for a loop

18. which two muses would immediately fight each other if they met? probably yasu and fudou LMAO

#huhuhu? (asks)#FINALLY ITS DONE LOL

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ilynpilled · 10 months

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on grrm describing his own style as that of heroic fantasy: how do you feel asoiaf is in conversation with the great man theory of history

ok so im not a historian, and it is not a strong subject of mine by any means, so do not expect that rich of an answer here: i just view the great man theory as only true to the degree that people that find themselves in positions of power will have a degree of influence on history by virtue of that position of great power, and the choices they make will be of great significance as a result, but there are too many forces at play, a lot of complexity that makes it so that the idea of “events shape history, great men create events” feels reductionist. i do not think these things can be attributed to the control and the choices of singular great individuals. i especially do not think that the “great men” of history have innate qualities granted to them at birth that in turn makes them great lol. i think the text treats the whole thing like this too for the most part, but it is a fictional fantasy series at the end of the day. when it comes to george, he is also not that interested in historical processes:

this is grrm’s, who noted before that he considers himself a romantic in the classical sense, approach to heroic fantasy. i do think the text takes apart aspects of the “great man theory”, how that label can even be defined, and how “greatness” in general can be defined, and whatever it is, it is more made, rather than something that is completely innate. there is a reason that a lot of our heroes are undergoing arcs that deliberately goes into the nitty gritty of their experiences, and outlines how they are shaped and evolved through it all. i also like feast’s approach to this conversation, as it hones in on tywin being treated as a “great man”, a kind of man that is “born once every thousand years.” it is a rhetoric that is repeated by his family and associates, but feast looks at the damage he’s done through the eyes of our protagonists, and how this “greatness” stems from mostly terror, and the banality of his evil. how singular is he really? + i think we all know that his legacy will not have a very happy ending. anyway, like he says, he does write from the lens of history being shaped by individual men and women and the choices they make, he just treats them as thoroughly human, and argues that they are like us, so i do not think the point that is being made here is: “people in positions of power deserve to lead due to innate characteristics granted to them at birth which shapes them into heroes.” the text goes into this whole discussion of “the heroes of history” pretty overtly through jaime too:

and there is a lot of grey area here. best & the worst on what terms? we know which heroes are remembered by history here, and how they are labelled, and we can look at why critically.

as george says, he does write like history is shaped by individuals and their choices, glorious and terrible, but the point is that they are not so different from “you & me.” every human being is linked by the capacity to make choices, and we have all have the capacity for good or evil, but it is choices that define us, not anything else. he repeats this in interviews constantly, and it is ever present in the text itself:

and i do think it is a major theme in the story that many essentialist ideas are being taken apart. the protagonists and their agency is always emphasized, and they are, again, largely defined by their choices, and their rearing, not their blood and the way they are born. this is actually why i feel more opposed to the tyrion targaryen theory. like for me, it is not just about the nuances of the whole tywin-tyrion dynamic, i just dont think it would be as thematically meaningful if all three “main characters with the biggest page presence” are tied together like that through royal blood. even if it is not the intention, i find it difficult to remove the implication. like i get that our protagonists are all mostly nobles from great families already (but there are clear heroes in the story that are not that), and it is not like classic hero narratives and chosen one narratives are absent from this story, i just believe george will have stuff up his sleeve to deconstruct and be in conversation with these tropes, and i think this whole “everybody very major is a secret targ” thing would take things too far lol. we will see. magic is interesting to me though. it feels like it is more innate. i think grrm writes with nature & nurturer in mind, and places a lot of emphasis on the latter, but there are magical aspects to the story that do not necessarily abide by this, bc magic is treated as something unique and not universal (i also remember him saying stuff about this, but i dont have the interview at hand), but we will see what direction he will take a lot of it, as the story will get more and more magical. it will still be ambiguous and treated as a force that is not fully understood i assume.

#ask

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archer3-13 · 1 year

Text

I dont feel we'll ever really get a 'rides rebellion' sequel to gundam ibo at the end of the day for two reasons, one big and one small. and the small one is that in my opinion ride and what hes doing in the epilogue is suppose to be more of an open question then something that gets a definitive answer. something to elicit thought and speculation, and force ya to ask personal questions but also something that was not created with an answer in mind [like mgs2, and like mgs2 forcing answers might end up more detrimental then constructive to the work in the end]

which leads to the big one, and its that [in my opinion] in the sense of a corporate scale of things, i feel like theres likely a perception in the sunrise and bandai boardrooms that actually giving some sort of followup on the events would result in tanking the profitability of ibo as a property within the gundam verse as it were. because as it stands the ending of ibo is ultimately something of a perfect balance of ambiguity in theme and plotting. everyone's won but also lost, the story is a closed loop but also dangling in loose ends of potential avenues, any given interpretation of ibo on a thematic and writing level can be considered both true and incorrect at the same time because everyone is accommodated for in some degree in the themes they prefer to interpret the story as.

I see ibo as a stock built tragedy where the protagonist of the story falls and fails because he lets his worst character aspects dominate his decisions and identity. namely orgas greed and his pride, which blend together in a toxic mix of performative machismo and ambition to hide the fact he has no idea what hes doing outside of reflexively reacting to everything that happens [real lelouch of ya orga gotta say]. some see it as a cautionary tale on colonial politics and its historical impacts with a tragic ending. others see it as a classic mafia yakuza story of learning 'crime does not pay' when the police come knocking at your door but with giant robots.

and as I mentioned, in my opinion ibos ending mangages to accommodate all these different viewpoints on the same story without hard committing to any one of them. In that sense its a perfect ending because it raises so many different ideas and themes but leaves it in the audiences hand to determine what those ideas and themes mean to them.

but by that same virtue, its a perfect ending. Theres nowhere to go from a perfect ending that doesnt mess with said ending in some manner. pick a direction to go and you inevitably disappoint the people invested in the directions you didnt go [which might be fine if your willing to disappoint those people, dgmr], maintain that balance and your prolonging everyones suffering. the best direction to go i would say is to explore new territory entirely, but sequels tend to be best sold as continuations not gear changes. and as a creative those are all interesting risks to explore in searching out the next story, but for a company? with stockholders and shit?

absolutely terrifying.

so yeah, i dont think we'll ever get a 'rides rebellion', but if it does happen and im wrong...

well, i can atleast imagine it would have a god chance of blowing the ibo fanbase into smithereens. but thats just a guess on subjective quality.

#gundam #gundam ibo #gundam iron blooded orphans

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the-lightless-flame · 2 months

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for the ask game: all of the agnes ships (jude, gertrude, jack... any others?)

(if you are so inclined)

would love to!

(link to the ask game)

ive not talked in detail about agnes in way too long..

idk if im supposed to do explanations but i will anyway. ill keep them under the cut tho bc they got longer than i expected

judeagnes:

look these two were the least healthy bitches alive but i mean. they lived together for a decent amount of time. theres no way they didnt fuck theres no way

one day i might make a post about what i think agnes' relationship to sex is and it will all be because of the very specific opinions i have about these two

they compel me but the reason i dont put it higher is probably just that its less of a ship i think about a lot and more of something thats a fact of life to me. like yeah they fucked obviously they had a long and messy relationship what more is there to say. thats probably also why i put it more far to the left than it maybe should be but oh well

gertrudeagnes:

to me gertrudeagnes is like. what they have going on is extremely complex and definitely at least a little homoerotic and i do think about them a lot. but also its so much more than that

i dont really ship them in the sense i think theyd be a good pairing, but i do think a lot about how crucial they were to each others lives on a thematic and literal level and thats much more important to me. would you call that shipping or something else? idk but i do like them alot

they did only meet once but i do think that the night they had after killing emma harvey was potentially the greatest sex in lesbian history

jackagnes (jagnes? i cant remember which one it is):

look ive gone on record as a jackagnes hater and i do have a lot of Opinions on it but in interest of not extending what is already a fairly long post ill try not to harp on it for too long

i think for me it comes down to the fact that really i dont see why jack's perception of agnes (as a partner) is any more trustworthy than jude's (as a goddess) or arthur's (as a prophet), for example. being other than what people expect is the thematic cornerstone of agnes' arc, and theres not really much i can see about jack that suggests to me it'd be any different for him

i should say actually that i do think he's very interesting as a character, but really i see him more as the idea of agnes being idealised even outside of the cult than anything else

(also i could not think of any others that would make sense to put alongside these which are kinda the main three but. if anyone has any other agnes ships i would honestly love to hear suggestions, serious or not)

#im sure that people will question my x-axis placements. and tbh ur probably right but this is my blog i do what i want #no hate to jackagnes enjoyers btw. i feel like i get really harsh on jackagnes but really its just not my thing #i dont really see it but you do you we are a big proponent of ship and let ship in this house #i forgot how long stuff can get just on accident. this happens basically every time i talk about agnes i shouldnt be surprised #agnesblogging #asks

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cyb-organ · 9 months

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whaddya think the fates of the yabusame sibs will be in 3-2? will they have any major plot impact? will they have one big defining moment? will they DIE?? idrk so I wanna hear the expert’s thoughts!! (and do you think the reko/Alice decision will have an impact on logic route?)

oo this is interesting! okay i have quite a few thoughts bear with me here.

also just for ease, i am only referring to emotion route unless i say otherwise

oh and im gonna put it all under the cut cuz its pretty hefty i apologise

will they have any big plot impact? i personally believe that every character has pretty big plot impact, but i know thats not what you mean so i will give an actual answer. im not sure if they will have MORE plot relevance than other characters, especially since theyre only there in one route (although, i have seen people theorise that emotion and logic will have seperate plots completely, which is interesting). i think plot wise, there isnt alot that they CAN impact yk? midoris gone, hinakos gone, and those were the big moments. i mean, that was a huge moment in alice lives route, the hinako reveal was such a huge plot moment, and to my knowledge it wasnt as big boom powpow in rekos route as it was in alices. i think that reko'll have one of these moments (please she needs a w). we still dont know her first trial. i think we'll find out what it is in 3-2 (the same applies to gin and kai but this is about reko). and i feel like alices first trial was pretty plot relevent so the same could apply here. as for alice specifically, i have a feeling that the memories that safalin erased will come into play. yttd has established a pretty big theme of humanity/how can humans be altered or changed and alice erasing his memories of reko is a pretty huge example of this. i highly doubt that it wont be relevant. also again, hinako moment was a pretty big plot impact. im not saying that he won't have any more plot impact, but i feel like in 3-2 he won't have a single big reveal moment because, well, it's already happened.

big defining moment this is just me elaborating slightly. i think all the first trials we dont know about will be relevant, and that includes reko's. on top of that i do think that while her arc is mostly coming to a close, i think she very well could have a big personal character moment, this may be wishful thinking cuz i love her and want to see more of her but whatever. to be honest, i don't fully see HOW her first trial is going to be relevant, but there has gotta be a reason for it being hidden this whole time. alice's first trial seemed irrelevant until it wasnt so! alices big moment, as i said, has gotta be related to his memories. i refuse to believe that he just erases his memories and moves on with his life, it just seems like a copout and i trust nankidai more than that!

will they die? to be honest, i dont think so. they very well MIGHT but i dont know! i think there will be at least one route where they die, but i think itll be avoidable. again. very well may be wishful thinking. but truly i think that either of them surviving to the end, possibly even escaping, would be a huge win for their character arcs. particularly alice who has very little to get back to. for him to fight on, to move forwards, despite knowing this? i think that'd be hella cool thematically! the idea of hope, and the idea that being human is to fear death are pretty big themes for the game, so for character like alice: a prisoner, who's already lost his sister and hasn't talked to the rest of his family in years, to not give in and to escape anyways would really fit into that. he doesn't have too much to live for, but that doesn't mean he should die, yk? (also would be an interesting parallel with kanna). reko, similarly but also on the other hand, HAS people to get back to, she has her band. and her fans. shes a public figure, her kidnapping was probably a big deal, making national news headlines, so it'd be nice to see her escape, also playing into the idea of hope both for her personally, and for everyone else; everyone in the death game and, yeah, her fans. additionally, because she is famous, her escaping could be detrimental to asunaro. she could out them completely as criminals, it would be a huge fucking deal. realisitically, im not sure if thats going to happen but its a possibility!

will choice affect logic route? honestly i have NO idea. i think most realistically, no, considering alot of people play chapters seperately to each other and will be starting from 3-2 without any link to any previous saves. there wouldn't be any point in having a "who died" choice for the yabusames at the start of 3-2. hopefully speaking, maybe. i think it could be interesting seeing how it affects sara, especially because she was incredibly close to reko. reko's death in logic route would obviously hit her alot harder than alice's so it'd be interesting seeing the differences there, but very likely the choice won't matter. emotion route on the other hand, i have a feeling theres gonna be a big difference in 3-2 between alice and reko lives, not sure what it'd be but. something's gonna happen. might be first trial related who knows

this is like half "what i think will happen" and half "what i want to happen" and i cant tell which is which.

tldr: alice gets his memories back, we find out rekos first trial, there is at least one route where they survive their respective routes, and the choice is relevant in emotion (all theory)

anon i am literally so thrilled that i am considered the expert is this, i really hope all of this makes ANY amount of coherent sense. 🫶

#GOD i hope this makes sense #if this is all wrong and stupid im going to be so embarrased #yabusames #yttd #your turn to die #alice yabusame #reko yabusame #long post #ish

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lorillee · 1 year

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anyways so loose thoughts on [spoilers] being revealed as the traitor

im sure most people have already gone through all of this but i havent actually looked at any of the discussion so im going to talk about it anyways! narratively actaully i think york is the best choice - given that we've already been talking about desires/dreams/etc in this arc between the ohara thing and the devil fruit reveals, its honestly the most obvious choice and thematically shouldn't have been any other way

because we've spent a whole lot of one piece talking about dreams and aspirations and what not, and we've sort of touched on the question of "ok well what if your dream just kind of sucks" with blackbeard and also that one line in the luffy/kaidou fight where luffy says something to the extent of "dont talk to me about your dreams!! i dont want to hear it!! your dream has hurt my friends and made them cry!!" but we have yet to really go into this pretty glaring question. so york wanting to be a celestial dragon is pretty much the perfect choice - what happens if your desire involves hurting people in the process?

i will say though im not entirely convinced she's working alone. obviously i dont speak japanese so i have no idea how it comes across in the original text, but generally viz is pretty good at getting the general tone translated, and the call from three months ago seems uncharacteristically serious. because it. if we're getting the traitor revealed in the same chapter that we hear this phone call, it doesnt make sense that the speaking styles would be so drastically different. because its not like york changes her speech patterns when talking about serious things - she's literally laughing about having shot shaka - so frankly i would not be surprised at all if she's a partial red herring.

the question then becomes, obviously, who... made the phone call. to which my guess is a) one of the other vegapunks or b) some random character oda hasn't introduced yet. and also frankly pulling the rug out from under us in regards to the traitor thing is an incredibly oda thing to do. like she could be working alone... but i feel like also a lot of the maneuvering of "how would she be at this place at this time" questions could be cleared up much better if theres an accomplice (or, as i know a few people have suggested, somebody who put the idea of becoming a celestial dragon into her head in the first place)

#one piece #op spoilers #i guess #lorillee.txt

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