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asterekmess · 4 years

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honestly, my fury at the lack of werewolf culture/history/worldbuilding is worthy of its own post. Let me know if by some ungodly chance, you actually wanna hear my thoughts on it // Yes, yes, yes, yes, yes, yes, yes!

ohmygod yes, pls, enable me.

SO.

I think I mentioned b4 that Teen Wolf hates werewolves.

This is a show about werewolves like, yeah, sure, they do other plots and stuff. But the main character is a werewolf. The vast majority of the cast are werewolves (at least in the first half of the show). But think about it. What do we actually know about werewolves? They uhh, they shift on the full moon. But like, what about the full moon? Cus’ Scott gets handcuffed to a radiator and he doesn’t shift and break out until the moon comes out from behind the clouds and he screams like it’s excruciatingly painful for him. But then Derek and his Betas are underground during their full moon, and they shift like it’s all fine and dandy (they’re furious, but there’s no pain) and it doesn’t matter whether they can see the moon or not. They, uhh, they’re allergic to wolfsbane/it’s poisonous to them (btw it’s poisonous to literally everyone, just the scent of it is enough to cause seizures and hallucinations in humans. It’s a whole other frustration that they won’t make up their fucking minds abt it. It’s one thing to say that this is some parallel universe where wolfsbane doesn’t poison humans (bc lydia makes them hallucinate with the punch but injesting that much wolfsbane should kill you, and Stiles straight pulls a plant out of the ground; should’ve caused itching, burning, a cough, nausea, fever, headache and More hallucinations) and yet Jackson has to see a doctor and gets told he’s got Aconite Poisoning. So WHAT IS THE TRUTH?) but apparently not enough for Derek not to be able to plant a wolfsbane plant and massive cord of roots (which he would’ve had to tie together himself) in a revenge spiral around Laura’s body. But just being around it causes wolves to lose control. But also there’s supposed to be different strains that do different things? And also sometimes you burn the wolfsbane and it becomes the cure, or you have to burn it out of them or you just cut it out of them? Make UP Your MIND or at least ACKNOWLEDGE that different strains do different things. They get stronger on a full moon. But does that mean they get infinitely stronger with every full moon they experience? Does that mean they get weaker during new moons? They’re stronger in packs. Okay, but they never establish what the fuck a pack is. Is it an agreement? Is it a magical bond? Scott just sort of says people are in his pack. Does that mean they are? Do the humans he knows make him stronger? Just how strong is this bond? Derek makes a claim that “You have your own pack now” so is that a joke, was he mocking scott? Or is he saying that there’s no need for an Alpha and just being a beta with some friends counts as a pack? Apparently they have some kind of...animal magnetism or mind control? Derek uses a funny voice and a guy wakes up from a near coma to look at him with seemingly no control. Peter can force Scott to shift up. Derek forces Isaac to shift down. Derek has an insane amount of control over dogs and makes one lose its fucking mind from like a hundred feet away? Scott makes one calm down, but derek sends attack dogs running with their tails between their legs. Is it actual control or is it just a persuasion? Is it just intimidation? I haven’t even gotten to culture. You’re telling me that we get an entire episode of Allison discovering the entire story behind the Argent clan’s origins as werewolf hunters, why they started, how her name means Silver and apparently that’s where the entire myth of silver hurting werewolves comes from, but we don’t get to know anything about the first werewolves? Where they come from? If they’re a form of evolution or just straight magic or if it’s a curse or a gift from the gods? There’s an entire hidden werewolf population with packs all over the world, but somehow there’s literally no wolf culture? No moon worship? No specific terminology (Alpha, Beta, and Omega are terms used by a really fucking stupid biologist who studied frantic wolves in captivity and cast aspersions on the entire species. He’s been disproven a Thousand Times. NONE of that Alpha, Beta, Omega shit is right. Packs aren’t Hierarchies of Dominance. They’re families. They’re led by two wolves, yes, an “alpha pair” that’s literally JUST THE PARENTS. THE ‘BETAS’ ARE THEIR KIDS. This terminology makes sense if used by HUNTERS who consider werewolves to be mindless dumb animals. WHY THE FUCK would werewolves use it to DESCRIBE THEMSELVES?) besides the absolute minimum of ‘I caught a scent?’ Are you serious? Then there’s werewolf ages. Oh my god that was so fucking lazy. Saying that werewolves don’t age like humans, but that Cora is seventeen “by human standards” WHAT DOES THAT MEAN? I’ve seen theories that go so many different ways. The idea that Werewolves live really long lives because of the superhealing. The idea that they live really short lives because their healing just burns through their body really quickly. The idea that their lifespan is directly correlated to the amount of damage they take because they can only heal so much, so wolves who get hurt a lot age faster than wolves who don’t. There’s NO explanation! You’d think it might be an interesting point for Scott to find out that he’s gonna live to fucking 200 years old. (How old is Satomi again?) That sounds like something a Teenager would be daunted by. We see them make fun of Stiles a few times because he believes werewolf myths about silver, and then because he believes Peter when Peter tells him he lives in a series of underground caves. But like...why not? THESE ARE WEREWOLVES why did you just make them humans with extra facial hair? Where are the traditional mating rituals (or even the concept of a mate/life partner, can you imagine how interesting that would’ve been? If Scott found out Allison was his mate? Or if he suddenly had all these weird urges around her, like rubbing their foreheads together or cuddling her way too much or wanting to bring her food? That would’ve been fascinating and hilarious as subplots for their romance!) where are the full moon runs or pack get-togethers? Where are the aversions to perfumes or cologne? Where are literally any animal behaviors besides AGGRESSION? Where is the den-making? Can werewolves eat fast food or does the grease bug them? Talia was a famous Alpha bc she could full shift. Does anyone know why she could do that? “Evolution” is a bullshit answer, let’s be real. It’s shitty writing and it put Derek through so much more than he deserved. THEY ACCIDENTALLY ESTABLISHED that ALL HALES can full-shift! IT’s NOT EVOLUTION. It’s BIRTHRIGHT. Talia fullshifted. Peter full-shifted (though his was distorted into the monster thingy. That wasn’t anything like Deucalion’s shift. It was a FULL SHIFT) Laura could full shift bc she did it after she died. No other werewolves on the show turned into full wolves after death, even if they died with wolfsbane in their system? MALIA could full-shift into a coyote. LITERALLY EVERY HALE except Cora and that’s bc she got booted back to South America COuld FULL SHIFT (and it never happened after they lost all of their wolf powers, that coud’ve been an interesting plot if they didn’t FUCK IT UP.) But still there’s no explanation, or even just acknowledgement? You don’t have to spell it out for us, but at least SAY “Hey, so the Hale family is really powerful and all of us can full-shift. Not sure why, but it’s neat.) I’m still stuck on rituals. Routines. Werewolf mores. Social cues. Are there certain smells they’re supposed to ignore? Is it polite to pretend you don’t hear someone coming up to your house until they knock? Do they have rules about waiting until the Alpha eats before they start eating (much like how lots of traditional households wait for the father to dig in, or whoever is head of household)? Is it tradition to homeschool werewolves for the first few years until they learn control? Are there seriously no rules about biting humans? You don’t have to talk to their parents or have a specific conversation with them? And if werewolves are so dominance/hierarchy based, then you’re telling me there’s no “second-in-command” or respectful greetings that are supposed to be used for an Alpha? There’s absolutely no form of werewolf government or ancient laws or anything except a big spiral that is universally recognized as a sign you’re gonna kill people? What was the wolfsbane around Laura’s body for? Why make the spiral out of that instead of just drawing in the dirt or something? We make a lot of jokes about Derek being bad with his words, but so is Peter and so is Cora. And they’re the only born wolves we interact with (except Satomi who ALSO isn’t a chatterbox) What if that’s not just because they’re all traumatized and cranky? What if they’re just speaking on a different level? Scents and body language are integral to wolf interaction. Like how we say that Peter has that conversation with Derek’s eyebrows? What if Derek’s so fucking pissed all the time because he hates talking to Scott because SCott ISN”T LISTENING to his body language and scent and chemosignals? He tells Scott to use all his senses, and Scott does it fucking once to say that Peter felt “Angry” and never again. What if Derek is Talking PLENTY (with his body and movements and reactions) but Scott just isn’t paying attention? Isaac seems to understand Derek just fine. Erica and Boyd never complain that Derek is lying to them or ‘keeping something’ from them? What if the reason Scott always thinks Derek’s hiding something is because he isn’t reading the rest of Derek’s conversation and he assumes that the empty feeling is Derek lying. Even STILES seems to understand Derek. He’s human, but he goes totally wolfy. He already uses body language a lot and while he gets mad at Derek he never has to ask what the fuck derek is saying or what he’s holding back. I digress. I wanna know why no other packs came to help Derek and Laura after their family died. I wanna know why Emissaries and Druids are so incredibly important to the supernatural/werewolf world but Derek barely knew they existed (Especially when it’s established that he know tons of lore about other species.) and even though every single pack should have an emissary, they never handle who is the emissary for Derek’s pack or for Scott’s pack (Once again, is an emissary bound to their pack somehow or is it just an agreement?). I wanna know why Derek knew Satomi and trusted her but for some reason never felt like he could ask her for help? Centuries of hiding and living amongst humans with almost no wolf behavior to their name, but none of these packs interact? There’s Druid Vets and Hunter cops and Emissary counselors. But no werewolf doctors? No werewolf teachers? Absolutely no werewolf society? If Derek was worried about Paige not accepting that he was a werewolf unless she became one, what does that say about his experience with humans? He says “there were people in my family that were perfectly ordinary in that house” who died in the fire. But wouldn’t he talk to a human pack member about his worries, if he had one? Or even a bitten pack member? He admits he doesn’t know how to train a Bitten wolf. He’s never been called out by a human pack member for using phrases like ‘caught a scent’ or for reacting to things he shouldn’t. Does this mean Derek’s family was entirely werewolves? No humans in the know? No bitten wolves? He has a huge thing about keeping the secret and never letting anyone in on it unless they get dragged into it. Did Derek’s pack have some kind of prejudice against humans? Was Derek raised to believe humans were weak or cowardly or something, that he thought this beautiful girl would automatically hate him and expose him if she were to discover the supernatural without being forced into silence by self-preservation.

Lots of times, it’s easy to forget in this fandom that so much is missing, because we’ve been filling in the gaps for so long that some stuff is practically canon. It’s generally assumed that the Hales were homeschooled before high school. It’s generally assumed that there’s some kind of bond that marks people as pack. We instinctively add in mentions of Scent and the use of the shift (growling, claws, a hint of fang, flashing eyes) as part of the casual communication between characters. We add in scent-marking and territory boundaries and specific roles in the pack. We do all of that and never think twice because it’s already in all the fic. But we did that. The show gave us nothing. It spent an entire season talking about the nogitsune and the oni and how they’re summoned and what kitsune fox tails are for, but we never got to find out why wolves can do the pain-drain (or even if it dissipates the pain or just transfers it to the wolf doing the draining) or if Derek Hale EVEN HAS A DAD.

#personal #rant #Meta Ramblings #it's not even anti-scott #Anonymous #go for it

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nbapprentice · 4 years

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You said a while back that while Supergiant games (Bastion, Transistor, Hades) was mostly okay, you had some words about them. I was curious as to what those words were, since Hades' full release is soon.

okay. alright. ive been playing hades lately so i definitely want to give my two cents (or dollars by the size this is gonna get). but let’s go Step by Step

the good: i want to throw a whole Endorsement over supergiant games with the art direction and its characters, which is what keeps me coming back again and again, and what i can assume is that most people are attracted to.

gameplaywise, they have a Format they stick to which has become their staple, not to their detriment but to their advantage, like... gameplay tropes, so to speak, that they stick to (such as the addition of special conditions that give a disadvantage in exchange for more long-term rewards)

i fucking adore that they take one concept per game, go for it, and when they’re done they are Done; they don’t bother with sequels, they don’t want to run things to the ground and i fucking respect that. They have their themes, and they stick to them (to various degrees of success).

that said, like every piece of media, they are not perfect and this has to be analysed and spoken about

CONTENT WARNINGS: genocide and ethnic cleansing, antisemitism, misogyny, homophobia, suicide, and mentions of incest, and a general Spoilers warning

bastion: touches on ethnic cleansing, and not in a way i’d say is satisfactory. our narrator and one of our Sympathetic characters is one of the men who worked on a world-ending weapon meant to use against the Ura (a group of people coded as East Asian) which after a bit of googling is literally called “the final solution” if there was ever a war between the Ura and the Cael (who feel like rly tan white people to me). jesus fucking CHRIST.

we also meet more Ura other than our two named characters and we have to kill most of them. so that fucking blows.

the game tries for “being a genocidal monster will get you fucked up and blown up” which duh, but i feel we shouldn’t have had a person responsible for war crimes be one of our friends no matter how bad he feels about the whole thing, or the people victim of war crimes become villains in the latter half of the game. zia’s father could’ve taken ruck’s role ez pz.

transistor: the weakest of their games, imo; the lore and writing are fairly flimsy and i did not come out feeling Satisfied, especially because it had this rly good build-up that did not pay off. not to mention... their villains? 3/4 were gay people. lol. two married guys (not even explicit, you only realize by their shared last names) and the ps*cho lesbian trope (iirc she wanted to kill the protagonist’s lover or something). the female protagonist also ends up killing herself to live forever in a digital paradise with her dead lover. it’s. god.

very Aesthetic, GORGEOUS music, interesting gameplay; had potential, i do not feel like it lived up to it at least as far as the story goes.

pyre: now this one. this one’s BEEFY. where transistor felt flimsy, pyre is rich; lots to sink your teeth into, rich in lore and loveable characters, again w the beautiful music, themes of cooperation and togetherness. my favorite of the cast is volfred sandalwood, the only Black (or, well, Black-coded) revolutionary i’ve ever seen portrayed with this amount of sympathy.

onto the bad: they literally have a Class of character named “Savage”; there’s the “mystical mentally ill person” trope; there is an overwhelming amount of explicit m/f pairs (one of them being. a romance that formed in a single day and then both of the characters were somehow willing to risk it all for each other? PLEASE) while the only hints of gayness are... hints. especially when Jodariel (another of my favs) is teased to have feelings for the player regardless of gender then only gets an ending with a male character with whom she has nothing in common 🙃

hades: and now. this one. music: gorgeous. character designs: spectacular (aphrodite is straight up naked but it’s so... natural and casual, it doesn’t feel sexualized at all). voice acting amazing. character interactions charming and endearing. as a greek mythology nerd, it was nice to see them go for the obscure shit like Zagreus at all, NOT portray Persephone and Hades as a loving couple, AND portrayed the gods as the bunch of petty assholes (some more benevolent than others) that they are. imo they’re too generous with their portrayal of achilles but i’ll allow it.

and finally... it seems all those criticisms about having all the gay characters hidden in the shadows paid off, cuz we got (aside of patroclus and achilles) a bisexual polyamorous protag. Holy Shit! and it’s not even playersexual, romance whomever you want shit without the routes recognizing each other: he explicitly talks about how he’s thinking abt them both (though it’s like “yeah usually mortals take one lover but gods love many huh” polyamory is a human thing too bro!!!!!)

and this is where it all goes, well, at least vaguely downhill lol. ok so the incest warning i gave up there? well. it’s not... outright incestuous. but it has some ugly implications. i want to emphasize: the characters never refer to each other as siblings, nor do they treat each other as such (thanatos, in fact, only recognizes hypnos as his brother, and megaera only sees the other furies as her sisters), but they were all raised by the same woman, Nyx... zagreus and thanatos even grew up together (im assuming megaera didnt meet zagreus until he was fully grown).

this is complicated even worse by the fact that they tried to trick zagreus into believing Nyx was his mother. he realized pretty early on this was not true but like... adoptive mothers, anyone? granted i can believe that bc of the attempt at deception that probably ruptured any attempt at actual familial closeness, and it’s not like hypnos and thanatos saw zagreus as their brother at any point, so they were p much aware of the truth too. with the fact that thanatos even looks like goth miles edgeworth (im not kidding you can google him up right now its literally edgeworth in a cowl) i rly feel they were aiming for Childhood Friend Anime Rival Man than the “surprise kiss bc ur not actually related <3″ shit. zagreus never once refers to nyx as his mother in-game, and also refers to thanatos and hypnos as her sons, never his brothers.

so yeah, like. if one’s feeling generous, zagreus and thanatos are more of a “my father is emotionally closed off and neglects me so my best friend’s mother basically raised me” kind of situation... just pulled off in, perhaps, the worst way possible (why didnt they just say Zagreus was told Hekate was his mom, that’s such an easy fix? or that he was born of nobody other than Hades??? [gestures at athena])

but then, the gods. aaaaaaaahhhhahahahh the gods. demeter shows up! and she calls zeus, hades and poseidon... her foster-brothers. which somehow would make the persephone thing less fucking awful, apparently. they really. really really did not need to do that. she could’ve just said “my fellow gods” or whatever. or my “god-brothers” or something, to pretend it was just a weird god alliance thing??? i dont know but implying that foster family isn’t family is just... bro, the dynamics still exist.

Don’t Like That.

i even contacted supergiant games over this. they reassured me they were even trying to avoid the incest of the original myths bc they didn’t want to mess with such a heavy theme. i believe them... but i really think they didn’t think this through. compared to something like fire emblem fates this is nearly benign, but the implications don’t look good :/

tl;dr of the tl;drs: i admire their artistic philosophy and the heavy emphasis on fresh gameplay, characters and their relationships; i appreciate that it seems that they listen to criticism?; i don’t appreciate that they didn’t think to at LEAST talk to adoptees when making a game about family.

#Anonymous #asks #mod nba #supergiant #supergiant games #bastion #transistor #hades #pyre

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young-bev · 4 years

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An essay abt Fabian Aramais Seacaster

This is the essay that i wrote for my greek myth class. The assignment was to find a contemporary example of Hubris and Nemesis.Understand that some story elements are simplified and glossed over bc this was only supposed to be three pages and i wrote five. Idk like one person on tumblr wanted to see it and a few ppl on twitter as well. So enjoy??

In recent years there has been a rise in popularity in TableTop Role Playing Games (RPG), this is due to shows like Critical Role, The Adventure Zone, Not Another DnD Podcast and Dimension 20. These shows have amassed large followings and have even gone and performed live around the world. Viewed as a collaborative storytelling medium, using dice to define the success of one's actions, it is only reasonable to wonder if the traditional storytelling devices seen in classic mythology translates into this medium. Examining the plot to Dimension 20 Fantasy High a clear example of hubris comes to mind. This hubris is shown by a Player Character (PC) named Fabian Aramais Seacaster in the second season of Fantasy High. To understand the significance of the hubris and Nemesis, one must understand Fabian’s personality in the context of this show and how that relates to the situation he was placed in. Understanding Fabian as a character will also allow the viewer to understand how cruel Nemesis was to him. Nemesis’ cruelty can also be examined as a part of games mechanics and reflected in the relations between Dungeon Master and Player.

For ease of understanding, I will first explain the context in which Fantasy High takes place. In the introduction to the show, the Dungeon Master (DM) Brennan Lee Mulligan explains that: “Now we can answer the age-old question of; What if John Hughes ran a tabletop RPG game?” The show follows a group of heroes who call themselves the Bad Kids as they attend the Aguefort Adventuring Academy: the world’s premier training ground for would-be Heroes. It is the first episode of the show that Fabian is introduced. He is a half-elven fighter raised by infamous pirate Bill Seacaster and Hallariel Seacaster. Played by Lou Wilson, Fabian is: “Everything [Lou Wilson] wanted to be in high school; rich and hot.” as he stated in an episode of Fantasy High: Extra Credit. It is here in Fabian’s very first scene that the viewer is given a key insight into Fabian’s hubris. While talking to his father before the first day of school, Bill Seacaster says to Fabian; “You’re my son, you’re a direct reflection of me! You and your glory is the same as mine and my glory! That’s how we relate to each other!” (Mulligan, S1 E1). This statement is important because it will directly play into many of the choices Fabian makes in the following episodes. In the very same interaction, Fabian is gifted by his father an Auguefort Owlbears letterman jacket, as Fabian hopes to make it onto the team with the tryouts happening later that day. The jacket becomes a great symbol for both Fabian’s hubris and identity as he does not initially make the team but still decides to wear the jacket to school nearly every day. As hubris is defined as someone viewing themselves as either above or below their true social rank. hubris is also seen as acting out of an overblown sense of importance. In a society where a social ladder is clear, Jocks and cheerleaders ‘rule the school’ and the nerds find themselves at the bottom, wearing a letterman jacket for a team that you are not a part of is very much believing yourself above your true position on the social ladder.

While the jacket is a minor display of hubris in the first season as Fabian does eventually find his way onto the Owlbears, it is not until Fantasy High: Sophomore Year that Fabian’s hubris is met with Nemesis. In sophomore year, the Bad Kids find themselves on a quest to retrieve the crown of the Nightmare King. Their journey leads them to the pirate city of Leviathan. Here the city is made up of ships roped and assembled together, it floats in the Celestine Sea. On their first night in Leviathan, Fabian separates himself from the party and heads off, now pensive as this city reminds him of Bill Seacaster. On his own, he meets members of his father’s cult. Warlocks who have given patronage to Bill Seacaster as he is now causing chaos as a devil in the nine hells after dying at the end of freshman year. Initially, these pirates praise and celebrate Fabian as he is their patron’s son. They believe Fabian their saviour. Their reaction changes, however, when they ask Fabian to describe how he defeated Bill Seacaster in combat. These warlocks believe Fabian to have killed his father in a grand and epic battle. Although, in actuality, Fabian killed his father in an act of mercy after their home was attacked by mercenaries. Fabian tries to explain this to these pirates and they immediately become frantic and fearful of the lack of potency and power of their patron. They believed Fabian a powerful enough swordsman to defeat Bill Seacaster, thus powerful enough to defeat one of Bill’s long standing rivals, a man named James Wicklaw (Mulligan, S2 E5). With a hurt pride and desperate to prove himself, Fabian declares: “I am perfectly capable of leading an army, Alright? I am my father’s son through and through. And I am as good as he is...” (Mulligan, S2 E5). It is here with wounded pride that Fabian sets out to prove himself in the eyes of his father’s cult. He leads them in an attack against James Wicklaw. Fabian’s hubris here comes from overcompensating for his hurt pride. He goes above his social standing, believing himself powerful enough to defeat Wicklaw on his own. This is however not true, as Dungeons & Dragons is a game where antagonists have challenge ratings and players gain levels in certain abilities. It is up to the Dungeon Master to balance encounters and choose antagonists appropriately. James Wicklaw was a Mind Flayer, listed in the Monster Manual as a level 7 challenge rating. Fabian at the time was a level 8 Fighter (Perkins, p.222). While this seems balanced, Fabian was immediately grappled and stunned, leaving him unable to do anything but watch, while Wicklaw and his crew slaughtered the 20 followers he had brought into battle. Nemesis comes to Fabian by removing his sense of identity. As Chungledown Bim, one of the warlocks says to Fabian before dying; “Ye ain’t no pirate and Bill would spit in your eye…I’m gonna shit in your mouth” (Mulligan, S2 E5). Ultimately these words would affect Fabian so much that they will come to haunt him in later episodes. Punishment in Dungeons & Dragons does play out differently then it does in classic Mythology. Where the gods of the pantheon are near impossible to reason with and are cruel and unforgiving in their punishments, the ones in control of the world of D&D are you and your friends. A good DM is on the side of their players but it is their job to react as the world in which their players find themselves. In this situation, Lou Wilson made a series of dangerous and reckless decisions as Fabian but these decisions were exactly the decisions that Fabian would make. He is prideful, he is overconfident, he is selfish and ultimately insecure when his pride is threatened. By losing his sense of identity, Lou and Brennan made the decision away from the table to push Fabian’s punishment past simply a character choice and into the mechanics of the game. At the table, we see Fabian shed his father’s eyepatch and sword along with his letterman jacket. These items are obvious symbols of Fabian’s sense of self. It isn’t until a later episode that the viewer sees the true effect that losing his identity has on Fabian. He suffers from exhaustion and pneumonia in the following episode and seems to have fallen into a depressive state. In episode 8, the Bad Kids go to face Wicklaw again, this time together as a team. It is here that the viewers and the other players learn that Lou and Brennan decided to remove all classes and feats Fabian had taken throughout the campaign. This leaves him with a single attack. Talking about this decision in the Fireside Chat, Brennan and Lou said: “[Lou Wilson]: A lot of it is a relationship and trust between you and your DM; in that your DM sees you make that choice, the less strategic choice…and meets you in the middle...It was so much more fun because...Brennan rewarded my choices with the reality and groundedness they deserve...’[Brennan Lee Mulligan]: ‘I think there comes a moment when playing D&D, where you can say: ‘I can really blow it and tell a better story’...I need to honor the danger Lou has put himself in and I need to put consequences here and I just can’t be vindictive.” This quote highlights the main difference with how hubris is treated in this media. Nemesis and the other Greek gods do not care, as characters, if their punishments are juste. They are particularly vindictive and often do not care if you die because of your hubris. Athena did not care about the importance of storytelling when cursing Arachne for boasting of her weaving skills, she simply cared that Arachne be punished for her hubris (Buxton, p.80). In opposition to this, a Dungeon Master and their players are more similar to the poets composing the myths. They make choices while considering the narrative, they enforce nemesis in a way that adds to the narrative. Using Nemesis allows the DM to enforce consequences onto the players allowing their decisions to feel more significant and raise the stakes. However, because of teamwork between player and DM, Nemesis will be much more forgiving to a Player Character then a Non-Player Character (NPC) or those showing hubris in myths. In conclusion, hubris and Nemesis still find their place in the world of RPGS. Fabian Aramais Seacaster is a clear example of this. He boasts of his abilities, believes himself a captain, when in actuality he is at his best when working in a team. Nemesis removes his sense of identity and confidence, forcing him to face his enemies without the skills he had honed in the past few years. She forced Fabian to realize that his true strength comes from the bonds he has with his friends and not borrowed from another's reputation. Nemesis forced Fabian to face his insecurities for which he was overcompensating, playing a key part in the larger elements of Fabian’s journey to becoming his ‘own darling man-boy’.

#dimension 20 #dimension 20 fantasy high #dimension 20 live #dimension 20 spoilers #this is the second school project ive done about fantasy high #fabian aramais seacaster #Fantasy high #Lou Wilson #brennan lee mulligan #an essay

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cruelwritersthesis · 4 years

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About your The Good Place AU. What about a continuation where Luke gets to become a better person, just like Team Cockroach did? While Luke did way worse shit than everyone on the team did,he also was likely more self-aware than those people by the time he died(Luke was already regretting his choices by the fourth book,and not only out of self-preservation instincts. He seemed to dislike the idea of releasing a powerful monster on the camp,for example).

anon, i like the way you think!

but first, a tangent: I think it’s hard to say if Luke was self-aware or not in the fourth book. yes, we see him nervous around Kampe, but immediately after the monster leaves he comments to Kelli that Kampe unnerves him. to me that was Rick’s way of attributing his discomfort to his fear of Kampe, not necessarily him rethinking about these monsters attacking camp.

yes, Kelli asks him if he’s getting cold feet, but I think that can be attributed to his cold feet involving Kronos possessing Luke’s body, not necessarily about attacking CHB. after Percy and Co. find Luke as Kronos, the pieces kind of click into place (or it was explained to us, I can’t remember): Luke was tasked with making it through the Labyrinth and getting Ariadne’s string, at which point Kronos would then possess his body and lead his army through the Labyrinth to attack CHB

now, obvi it’s up to personal interpretation. this is how I see it, and you obvi see it differently, and there’s nothing wrong with that

however, I do think he was finally becoming more wise to what Kronos was planning to do when he went to visit Annabeth. he used the words “like a stepping stone,” which suggests that he’s finally coming to understand that Kronos had never cared about what Luke wanted–which was to overthrow the gods bc demigods deserved better–he only cared abt his revenge against the gods and taking over the world again, demigods and gods be damned. and he was using Luke as a convenient stepping stone toward that goal

but by then it was too late, Annabeth had lost her trust in him by then and turned him away, which left Luke no choice but to turn back to Kronos again

/tangent

all that said, the whole point of tgp was to show that humans are messy and complicated but can ultimately improve and be good people under the right circumstances and surrounded by the right ppl, right? so let’s get into it!

[[[spoilers for tgp below]]]

So let’s pick up where we last left off, which Tori realizing this is the Fields of Punishment

Adrian reboots them, but like in the show, Tori figures it out because she left herself a note of some kind

And like in the show, Adrian keeps rebooting them because they keep figuring it out

He’s getting frustrated, but he’s not willing to give up because they deserve to be tortured, right? They did a ton of bad things, Luke especially

But then, during one reboot, Luke figures out that maybe he doesn’t belong in Elysium

So he goes to Tori because he’s confused and now trying to work through the fact that, man, he was a terrible person on Earth–the path to Hell is paved with good intentions, and all that

“Maybe it doesn’t matter if you die a hero anymore, Tori.”

“Well, I did help you. Maybe they made a mistake with both of us?”

“No, I don’t think so. And it’s a little different with you. I forced you into a decision and you chose me, but you never actually sided with Kronos.”

Tori’s not entirely convinced, mostly because after getting him back, she would gladly follow him to the Fields of Punishment if that meant they could stay together. But his logic doesn’t exactly add up, either

“But the Underworld follows ancient Greek traditions, Luke. Three souls judge a dead person’s soul and decide where that soul goes, right? I mean, I still did decide to stay with you.”

“Maybe things have changed. Neither of us can really remember how we got here, right? Besides, Greek myths adapt to changing times and the belief of humans. Maybe Hades decided to change the Underworld to match, or it morphed by itself over time. Maybe it’s somehow more efficient to do it this way. Adrian told us that Elysium was split into neighborhoods and I don’t remember that in any of the myths. Either way, I think they made a mistake with me. I’m not supposed to be here.”

“I want to be a good person, Tori. I was so caught up in Greek heroes and Fate and prophecies, I lost sight of everything. I was angry and I wanted to help.”

So, despite Tori’s protestations, Luke goes to Adrian and tells him that he believes, somehow, the powers that be made a mistake of putting him in Elysium and voluntarily tells Adrian he will go to the Fields of Punishment

Now, because Adrian has already rebooted them over 800 times by now, he’s already worn down. but Luke coming to him and volunteering to be sent to the Fields of Punishment was the tipping point

Maybe there’s something to humans that he never considered before

The other immortals there have gotten fed up and have abandoned the neighborhood until Adrian meets their demands at this point, as well, so Adrian tells Luke to wait in his office while he takes a walk and contemplates things

Adrian kind of wants to see how this works out. If Luke has really changed and if he can continue to change--make up for his past mistakes somehow

Finally, Adrian decides to keep Luke in this fake Elysium and see what happens for a few more weeks.

“I’ve talked to the boss and they agreed to let you stay, but for a probationary period. As you may have noticed, the neighborhood has been a bit glitchy because someone here didn’t belong--that’s you. My boss and I want to see if you can get better enough to make those glitches go away.”

It’s a complicated plan, Adrian has to pretend to the other immortals that they’re still sufficiently torturing the four demigods while also keeping up the act that they’re all in Elysium. and obviously, he has not talked to his boss about this--Adrian wants to see how Luke handles the obstacles the other immortals throw at him for a few weeks

So he does that for a few weeks, keeping a close eye on a baffled Luke and Tori

To his surprise, Luke goes and tells Amir and Mali, who also start to suspect they belong in the Fields of Punishment. Amir and Mali decide to keep that to themselves, but after seeing Luke work to be better, they’re motivated to also work toward that goal

After watching them get better over the few weeks, Adrian concocts a new plan: find a way to get an audience with Hades, Persephone, and Thanatos (i.e., the Judge in the Greek in mythology world). Hades and Persephone because they’re King and Queen of the Underworld and Thanatos because he’s Death, he’s existed long before the gods and will exist long after them

Antics ensue: Adrian gathers the four humans and tell them what’s up (they’re actually in the Fields of Punishment) and what he’s been doing for a few weeks (watching to see how they handle hardship), and then tells them his new plan

Then his boss shows up (before Adrian can enact his plan), with stunning reports from the other immortals. Like in TGP, the boss decides to shut the experiment down, transfer the four to the real Fields of Punishment, and have a celebration with the other immortals who’ve been tasked to torture those in the Fields of Punishment

More antic ensue: Adrian drops hints that he’s still on their side; the other immortals throw a big party; Luke, Tori, Amir, and Mali all trick the others into thinking they escaped the neighborhood; after everyone leaves, Adrian stays behind with the four demigods and they discuss their plan to get through the real Fields of Punishment to get to Hades’s mansion

More antics, like in TGP, they face some obstacles, finally make it Hades’s mansion, but with Adrian because he sacrificed himself

Hades gives them trials and are graded as a group. Only Luke passes his [lol; Tori has some issues to work through so ¯\_(ツ)_/¯) so Hades is about to send them back to the Fields of Punishment when Adrian and Janet show up

Adrian has a talk with Hades, Persephone, and Thanatos somewhere else, while the four wait. Tori talks to Luke about how she failed her test and what that means

Of course he’s encouraging: “We’ll get through this together. We always do, one way or another.”

Adrian comes back and they’ve decided: Once again like in TGP, they four demigods are sent back to Earth at the moment of their death, but survive (without their memories of being in fake Elysium/the Fields of Punishment) to see if they’ll get better

aaaaand that’s all she wrote again

i have a Few ideas of what takes place after, but i’m gonna leave it here for right now

feel free to send in any more ideas if you’d like! i may or may not work on this next part by myself. but i’ll tell you i am more likely to write out the next part if i get an ask either giving me more ideas or asking me to expand on this au just bc i am putting more of my focus on the third installment of my OC series

thanks again for sending this in! i had a lot of fun with it :D

#oh god for shame! i do not even know your name #asked and answered #my writing #tgp au #au #luke castellan #my oc: tori williams

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zoophagist · 7 years

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*fights u so u can defend ur son* wow... that renfield... sure is an innocent bby who did nothing wrong uwu

ooc;; hold on let me get myself ready

ok how dARE U ISABELLE that is my SON and he is a NASTY BOY!!

he clearly has a love of animals but!!! misuses their trust to win them over and then ?? eat them????? what a piece of trash yeah sure cry me a river about how guilty u are over the thought of their souls i’m sure they’d love to hear it

he OBVIOUSLY knows dracula’s comings and goings and knew when lucy was being killed and didn’t make any big heroic sacrifices for her!! i guess only mina’s worth it???? and he’s not just passive either it’s implied that his attack on seward with the knife is prompted by an order from dracula who realizes the doctor is trying to stop his killing lucy so renfield PARTICIPATES in her murder to an extent. (counterpoint: he genuinely believes vampirism is a gift so he probably did not have any qualms about dracula hurting lucy if it would lead to her eternal life.) COUNTERPOINT TO THAT COUNTERPOINT: he should have thought the same thing abt mina then!!! but he didn’t!! because he recognized dracula’s drinking from her as an assault and was so distressed by it that he NEEDED to stop him. so why didn’t he have to mind to try to warn seward for lucy’s sake? because he’s a selfish, selfish man!!! he hasn’t had to meet lucy face to face so he can pretend it doesn’t concern him and there’s nothing he can do. what an asshole!!!!!!!!!

i wouldn’t even be surprised by the argument that his lack of care came down to wanting to spite seward because renfield is such a petty bitch and he does not give a fuck about how many lives need to be ruined as long as he gets his eternal life!!

he tried to kill AT LEAST TWO PEOPLE while in the sanitarium one of whom was literally just transporting fucking dirt boxes but renfield takes this as a PERSONAL AFFRONT to his safety and after bitching this man out from the window, and then perfectly composing himself in front of hennessey to make sure he isn’t punished for it, BREAKS OUT OF THE ASYLUM FOR THE THIRD TIME AND TRIES TO BASH IN A MAN’S HEAD ON THE GROUND. who does that???? a fucking trashlord that’s who!!!!!!!

and it’s all for a literal monster!!! he does all of this bc he trusts dracula to reward him for it?? what the hell and fuck are u thinking renfield???? even after he’s taken to mina and tries to get himself removed from the building bc he KNOWS dracula will use him to get in, he fUCKIN G LETS DRACULA IN ANYWAY!!!! DRAC’S LIKE ‘HEY HAVE SOME RATS’ AND RENFIELD’S LIKE ‘DAMN I CAN’T ARGUE WITH THAT!!! COME ON IN, MASTER, AND SAP THE LIFE OUT OF THE ONE PERSON THAT’S SHOWN ME KINDNESS IN THE WHOLE OF MY MEMORY!’

and binch don’t even get me STARTED on his double motives for trying to saving mina, because he’s A JEALOUS INFANT AND KNOWS DRACULA’S GOING TO MAKE MINA IMMORTAL AND NOT HIM!!!! HE WANTS WHAT MINA’S GETTING AND HE FINALLY SEES DRACULA ISN’T GOING TO GIVE IT TO HIM AND THAT HE NEVER PLANNED TO! HE FIGHTS DRACULA BECAUSE HE’S AGNRY ABOUT BEING CHEATED. (counterpoint: but he DOES care about mina and on some level he knew that fighting dracula would kill him, and so he would have to willingly act against his pursuit of eternal life by standing up to him, which implies that it was not entirely selfish and at least 40% self-sacrifice) ok well yeah i’m not going to fight you there because this IS supposed to be his one redeeming moment. i’ll let u have this one….

but just in general he’s ??? supposed to be disgusting!!! ur supposed to pity him and wish things were different, sure, but above all, he should repulse u. he is the stereotype of the vile, animal nature of the vampire myth that juxtaposes the count’s calm, cool, collected, and civilized evil. the point is that renfield is everything humans find ugly about vampirism, but he is the mortal, and while dracula is suave and cunning and restrained, he is the monster. it’s a play on ur expectations and so stoker DELIBERATELY wrote renfield to be repugnant to our sensibilities; he is disgusting, violent, cowardly, brutish, malicious, apparently illogical or mad, and has no care for conventional morality. u NEED to understand that he’s portrayed this way in order to fully appreciate his about-face with fighting dracula. he goes against his entire nature and against all our expectations of his behavior to do a good thing and that moment is MEANINGLESS for his character if you don’t already think he’s awful.

rant>

#coeurresonne #||x LET ME ENTREAT YOU OH LET ME IMPLORE YOU! [ answered asks ]#||x THE GOOD BOOK [ meta & dracula relevant content ]#||x LONG AND AFAR OFF [ ooc ]

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dirtyprojectors · 6 years

Text

“that’s a lifestyle” video

youtube

the animated video for “that’s a lifestyle” is out today. the director, kitty faingold, and i discussed bringing the song to life as a series of ethereal animated sketches, cronus the greek god, the visual metaphor of broken statues as a vanishing empire and much more . - dave

i feel like i haven’t seen animation like this … maybe ever, definitely since i saw bill plympton’s cartoons when i was a kid! what is your process — how do you make it look like that?

Basically, this animation was hand drawn with an HB pencil onto white paper and then photographed and put onto a timeline on a computer. I drew between six and eight drawings a second, which is not a lot and is why it looks jumpy and choppy - if you want a sleek look you need to draw more per second. But I’ve always liked lo brow & lo fi stuff, where you can see the artist’s hand at work and feel the human presence behind the piece. I like it when things look like they were made with the intense passion of a very dedicated amateur, it denotes enthusiasm, effort, aspiration, dreams. It’s flawed and personable and relatable. Maybe my taste is influenced by having lived in Latin America with it’s magical realism and it’s poetry of the mundane.

what’s the story you’re trying to tell in the video — and how does it relate to the story it seems like i’m trying to tell ?

The story is that we, the audience, are a spectral being hovering above a lake in front of a strange house that has infinite rooms. We float in through a window and decide to take a quick disembodied tour of the house that’s inhabited by a group of enchanted statues which some strange electric life force has animated for all eternity. They are the eerie marble remnants of an extinct civilisation, long annihilated, the silent survivors of a by-gone atomic end time. Like dancing shadows burnt into a wall by a nuclear blast. It’s tragic but also strangely optimistic - something survived, perhaps at the end of the world, human consciousness liberated of its material constraints, spread at light speed throughout the universe, and fuzzy bundles of memory, thought and emotion seeped into inert matter in distant galaxies and parallel universes, creating the world portrayed in this animation.

The video is an imagined outcome of the story that’s sung in the song, which as I interpret it, is about a society at the cusp of destruction, looking out from itself into its past and its future and wondering will we survive? or will the monster eat its young til they’re gone.

do you hate it when people ask you questions like that, because you have this feeling of like, ‘uhhhh, hopefully the work articulates the thing in a way that words cannot — that’s why it’s an animation and not a piece of prose; why are you asking me to bastardize & diminish what i’m doing??’ or do you feel like words / discourse provide a different and useful lens?

Haha! both I guess, most things that I make feel like they come from a place in my mind that doesn’t understand or speak a verbal language, and others are created in harmony with a more intellectually stimulated region of the mind, something with a narrative, a reference to some historical thing, for example. Words themselves can have power that goes beyond the literal meaning and melts into something more emotional. But I do often feel that contemporary art can be overly wordy and rationalised; when you explain or justify what you’ve created with a lengthy text, the piece looses elasticity and ossifies into a concrete message, or as Susan Sontag says “a sensibility is ineffable… a sensibility which can be crammed into the mold of a system.. has hardened into an idea.” I like this way of thinking about art as sensibility.

Also, when a piece of art or music has a precise explanation, it sort of becomes redundant, it’s just an illustration to accompany that other thing you’re saying. In art, I think, if words are used at all it should be to infuse the work with another layer of poetry, mystery and psychic life.

in this video, did you think much abt correlating image & sound — ie having the visual gestures harmonize with the movements of the music? (i think they go together super well…)

Yes, I wanted the images to resonate with and respond to the sound. On a macro scale, I wanted them to inhabit the same world, to belong together, so the look and feel of the images is enhanced by the sound of the song and vice versa. On a micro scale, the cuts are based on the rhythm of the song, and there are different moments in the story and particular characters and happenings that also relate to the specific moments or moods in the song.

when you’re working in this way, you’re the writer, director, artist and editor. does it feel natural and seamless to be in all these different roles, or do the imperatives of one role sometimes come into conflict with another ? like, does the draftsperson in you occasionally want to take things in a direction that the director simply can’t allow? if so, how do you resolve these conflicts?

That’s an interesting way of looking at it and very true; yes, I definitely had multiple voices in my mind whispering different things throughout the whole process - as an artist you are constantly engaged in an internal dialogue with many different elements of yourself and even with a fictional “other” that pretends to be an outside audience, so it’s challenging work. But this way of working does feel natural to me, I like being in control of as many aspects of my work as possible, so it doesn’t feel like a conflict that needs to be resolved, rather a conversation that’s had.

do you think there’s something special abt using old-school labor/time-intensive practices, even when there are readily available software/digital shortcuts ? like, maybe you value the specific unique feel to the finished work, or maybe you just get something you get from the process itself (eg meditative zen state that comes out of doing the rote repetition by hand?)

Yes, there is definitely something special about labour intensive work and, in this case, using analog rather than digital methods. On one hand, repetition as you say, let’s the mind wander into a meditative state which in a hyper stimulated world feels healthy and grounding. On the other, when you’re working purely in a digital realm you feel a sort of underlying existentialist horror as you are essentially one dimension removed from your work, or else you get a sense of plastic claustrophobia and you just need to run outside and roll around in some prickly grass or something! after a while of being on the computer you desperately need to feel the real material world around you, to feel phenomenologically “in” your body - to embody your reality. I think there is such a thing as a digital malaise akin to cabin fever. So I really enjoyed getting back to paper and pencil.

why roman / greek statuary? in general, where does your imagery come from? has it changed much over time, or from project to project, or do you find that there are leitmotifs and vibes that you return to consistently?

That was mainly based on the imagery that came to mind from the lyrics; words about an empire, a senator, a decaying civilization, violence, power, greed etc. Also when the song talks about a monster eating its children, I thought of Cronus the Greek God. I associate these things with the ancient classical world, and the marble skeleton of it that we have inherited. Also, surrealist works of art, for example by De Chirico, often feature statues and in particular greek/roman ones; there is evidently something about them that resonates with the subconscious mind, they are a meaningful symbol to us, they have a dreamlike and strange quality to them. This video was conjured up mainly by a stream of consciousness, which is a surrealist method for creating images. To the second question I would say both, each project is different as I am a pretty eclectic person and the world is full of new inspirations, but there is a river bed under the passing currents that doesn’t change much, a soil made up of a certain composition of minerals which, in my particular case, has surrealist foundations and an interest in myth, symbolism and the occult, and drawing eyes, people in trances, odd faces and strange places.

w the greek/roman statuary, do you feel like there’s some parallel you’re drawing to an idea of the vast, broken, vanishing empire — and the West today ? or maybe in general do u feel like that’s part of the operative fascination that vaporwave has with that imagery?

I definitely think that a broken statue is a clear visual metaphor for a vanishing empire, which might be why it populates the allegorical world of surrealism and vapourware as its digital extension- maybe for the last hundred years we’ve all felt on some subconscious plane a pending apocalypse, the world that we’ve created on the brink of an extinction level event. It makes sense, after the world wars, the cold war, the atomic/nuclear threats, climate threats, financial threats, etc. everything has seemed to be in a constant state of mortal danger for the past century! even our food is supposedly poisoning us, our clothes, bodies, water, air itself, everything is menacing and threatening and hostile, so it’s little wonder our art would express this sense of doom.

one of the things im kinda thinking out loud abt in the song is this question of, ‘in our insanely interconnected world, is it actually possible to draw our actions into congruence with our beliefs? what would that mean? and what does it mean if/when we can’t?’ sometimes it feels like the chains of production, ownership, causality etc are so deeply enmeshed that it’s impossible to chase down the global implications of our choices as consumers & citizens with any kind of confidence or accuracy … and that makes us feel powerless in the face of hideous injustices … like we’re all frogs in a pot of water slowly rising to a boil. so in the song, even though i don’t have a resolution or conveniently optimistic way of thinking about it, i hope there’s a value in articulating the feeling anyway. my question is, do you feel like art has a responsibility to be political? or do you feel like art is inherently political — and there might be something more human / empathetic / mysterious when art is fluid enough to evade the reduction into easy sloganeering ? for me it’s a question right now, because i’ve often landed in the latter camp, but this song woke up like this .. .

Yeah, it’s a tricky subject, politics and art. I guess that, in my opinion, your only responsibility as an artist is to give your audience your best and most genuine work, whatever that may be. The content of the work will vary hugely from artist to artist. There are many important things in the world, important parts of the experience of being, that don’t include politics at all, and perhaps are even antagonistic to it, so I don’t think that art has to be political. Sometimes it feels gratuitous and disingenuous when an artist injects some politics into their work or their discourse just because it’s in vogue. Lots of artists don’t have a clue about politics, they inhabit a parallel world of emotions, fairytales and daydreams! They might be an outsider, a rebel, or a romantic for example. Others are very passionate about being the voice of their own society, and are deeply entrenched in their cultural surroundings and make of their political ideas their body of work, in the hopes that their message might challenge certain prejudices or else that the audience will identify with the ideas and find expression for their own political thoughts. I don’t think one approach is more valid or moral than the other, as long as it’s genuine. However, on the other hand, anybody that has a visible social platform and access to a certain level of impact could be a useful tool to raise awareness for a number of social causes, but that’s something different.

how long did this video take you ?

Nearly a month! In fact I’d like to take the opportunity to thank Max Mannone who helped me sooooo much to make it in such a short time! he took all the photographs and digitised most of it, as well as giving me creative input. It’s super important to bounce off of someone you respect when you are working alone, because it’s such a self centred process that you can lose all perspective and start to drown in yourself!

do you like to revise a lot, or is it a first-thought-best-thought headspace ?

With a stream of consciousness type method definitely first-thought-best-thought although as I said above, bouncing off somebody else throughout the process is also good.

what kind of music do u like to listen to when you draw?

Well, for this video I listened to a lot of Dirty Projectors :-) I love this song, and instead of growing tired of it which can happen with repetition I grew to like it more and more! it’s definitely alive. I also have lots of synth stuff on my playlist like New Wave songs and Italo disco music. Probably because I came into the world during the eighties so it kind of feels like home. I actually listen to a lot of podcasts when I draw & animate, I like finding undiscovered youtube channels about weird topics particularly about magic, myths and the fascinating shadowy world of the occult which are all sources of inspiration.

thanks so much for this, kitty!! i love the animation a lot, and best of luck with future projects!

Thank you Dave! It was a real pleasure to work on this project, I love the song and hope the video did it justice :-) I'll look forward to hearing the new album!

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