I wish we had more female characters like Eleanor Shellstrop. One of the most unlikable people you've ever met. Read a Buzzfeed article on most rude things you can do on a daily basis and decided to use that as a list of goals. Makes everyone's day worse just by being there. Dropped a margarita mix on the ground and tried to pick it up, only to get hit by a row of shopping carts which pushed her into the road where she was hit by a boner pill delivery truck, killing her instantly. Cannot keep a romantic partner despite being bisexual. Had a terrible childhood but will die before she gets therapy. Best employee at a scam company. Just the worst but also can't help but root for her to improve.
Absolute loser. Girl-failure. Bad at almost everything. Literally perfect female character.
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the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.
capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.
now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.
and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.
and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.
and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".
it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"
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To me, the best embodiment of modern capitalism is in the phrase "please hold, we are experiencing higher than usual call volume". I know it's a lie. You know it's a lie. But you still hear that line every time you call, regardless of the day or time, because it shifts the blame. It tries to prompt you to blame the other callers instead of asking, "Hey, why are they deliberately understaffing their call centers and making it so difficult to get help?" It takes a failing caused by a deliberate, profit-focused management choice, and turns it into a problem with the people using the system, rather than one with the system itself. And that pattern, to me, is the epitome of the modern corporate system.
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meeting wyll at the grove, as someone who the tieflings trust enough to train their children, says so much about him. it's so sad that he doesn't get explored in acts 2-3 as deeply as the other companions, when his problems are equally intense. the average player probably long rests once before coming across the grove, but even if not, in that time wyll has already proven to the tieflings that they can rely on the Blade of Frontiers.
this is the immediate first thing he chooses to do after being condemned to slow death via ceremorphosis. his priority list in the first conversations with tav is: 1) hunt down a dangerous devil, 2) help zevlor with the goblins, 3) once nothing threatens the tieflings he will gladly search for a tadpole cure. wyll is perpetually his own last priority, and i wonder if it has to do with the lore about souls.
if he believes mind flayers' souls have been destroyed, and fiend warlocks will all have their souls sent to the hells after death, then becoming a mind flayer isn't the worst possible way for him to die. he would never become a mindless monster to save his own soul, but he's not gripped by horror the way that some of the other origin characters are. lae'zel has been made revoltingly impure to her people, astarion is terrified of losing the scrap of bodily autonomy he just regained, gale is guilt-ridden over the orb detonation if he dies, shadowheart has to survive to prove herself to her cult leader, and karlach has also just regained bodily autonomy and is desparate to live.
this is just another quest for the Blade, whose persona guards wyll ravengard against the vice of self-concern when he ought to be concerned for those in need.
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Also idk maybe it was too subtle but. when oppenheimers wife takes him by the shoulders and says, “stop trying to make people pity you for the sins you committed” like. I just kind of figured that was a pretty explicit indictment of his actions and makes me struggle to take the “Oppenheimer is just a movie about a sad white mans feelings” arguments in good faith.
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TOTK where everything is more or less the same except the dragon tears are as giant as the springs that Zelda went to, and Link has to wade through them to experience the vision. On top of that, after he sees the vision in full, he can relive that vision for as long as he stays in those tears.
Now, the reason why I want that is because I want to see Link witness the final memory and turn numb with denial and guilt and grief. It should not have surprised him the way it did; he knew in the previous memories she had planned to do it. But there were still more geoglyphs to search, still more time and hope for her to realize there was a different way, a better one that didn't ask her of so much.
He was wrong, of course. Destinies like theirs were never so generous.
Imagine that he appears expressionless, a stark contrast to his more emotional nature that has come out during gameplay. And yet his eyes are noticeably glazed over and he's frozen to the bed of the spring. The sages watch him through their vows, knowing this to be the last memory, and they feel it, immediately, that something is wrong. They desperately try to talk through their avatars, much to the surprise of their loved ones.
"Link? Link, snap out of it!"
He hears nothing.
And so the scene parallels to the off-screen moment Urbosa had with Zelda -- a careful Sidon wills his avatar to carry Link away from the cursed waters, and is pained when he's met with vehement resistance. Why would his wonderful friend drag himself back there, when whatever he saw tore his heart and shattered his soul? It wasn't good for him, to deal with grief in such a poisonous manner.
But for Link, he would weather the heartbreak in watching that bright, curious, ambitious girl sacrifice everything that made her who she was infinitely if it meant he could commit her face to memory. The Sheikah Slate that he took pictures of her with had been dismantled, and the Purah Pad contains no recollection of Zelda. He would watch his princess lose herself, over and over again, in that damned tear, than forget what she looked like.
He couldn't do that to her. Not again.
In the meantime, Tulin, Riju, and Yunobo have created a circle around him together, blocking the hero from hurting himself any further.
By this point, Link's expression is wavering, brows furrowed and lips pressed to a thin line. They don't get it, do they? All of the closest friends he had from an era past are gone; yes, Impa, Purah and Robbie are still alive, and they belong to that era too, but they didn't know him like the Champions did. Like Zelda did. She fought for him in death as much as he fought for her in life, and now he lost her too.
He finally collapses to the ground, shaking, and cries.
He had one job: Protect the princess. And he failed her. Twice.
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