this actually changes things bc i forgot they had this conversation the day of the junta.
she was gonna quit and break up with him privately after they committed fraud again. whether she was gonna tell him she knew about everything, is still up in the air. personally, i dont think she was. i still think she intended to quit quietly and disappear and he would still go crazy.
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god I know this is like The Wrong Stance on AI. I know its not about whether the art is Real and Human or If It Has A Soul and how a lot of the arguments against it are the same bullshit arguments people made against digital art like I Know. I Knowwww. but god, I'm really sorry, not to post like one of those annoying poetry bloggers I cant stand (yall are valid, live your truth, theres nothing wrong with what you post I'm just a petty bitch who hates poetry. unless I dont hate it.)
But theres just something about the way AI art will almost certainly never be able to mimic the exact way my pencil leaves an indentation in the paper, the way some of the lines I can never fully erase cause I pressed too hard, theyll have to at least train them to draw with a physical pencil first, and sure, they could train it to draw with a pencil and even erase the exact same piece I drew, line for line, on a piece of paper with a robot arm powered by AI, but they can't replicate. idk. the lineage of lefty bitches in my family, and the way I grew up going through school with my entire left arm silver with graphite, from doodling on my schoolwork. not yet anyway. but I guess I do live for the day we make the ai sentient enough that we can traumatize it by giving it homework after kneecapping its executive functions so it copes by drawing a big tiddy lobster monster. sure
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I think what is missing with 4-sided Dive that Talks Machina had was a third party to have those character discussions with. It's not the same with a fellow PC. Also someone with interviewing abilities, sometimes I feel like they meander so much.
And I do like to watch them talk, I do watch old episodes of AWNP, fireside chat, etc, but for discussing the game/campaign I think the mechanics of it muddles with the flow.
I personally feel no value is added from the tower of inquiry or the cup questions, though I don't mind the game playing at the end since at this point who had their curiosity satisfied can simply leave, but answering while playing which they tried doing at least once I watched didn't work at all.
Edit: Btw when I say no value is added I mean the format (being in a cup, pulling from the tower) and not the questions themselves.
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Flicking through Dreadnought trying to find that scene with Ms Leon, the Colonel, and the Professor when a couple things struck me.
Although definitely not to the extent of Anastasia, Pietor sure does know what he's doing psychologically. I swear, in all his exchanges with Raven, he's just insulting her- weak, slow, lazy, sloppy, etc. And it really does read as though he thinks that. I can't recall a single instance where he degrades another person to the extent that he does to Raven. It seems that he purely hates her, but he doesn't. He even says outright that he both respects and fears her. However, he needs to make sure she underestimates herself for his own gain. He does this in Zero Hour perhaps more obviously when he explicitly tells Raven stuff like "you are too slow to do that" as she is actively formulating plans, nipping them in the bud before they can blossom. It's not elaborate, but it is efficient...
For then my eyes settled upon another scene. It's after Pietor spars with Raven, when she is alone and whispers "where are you, Max?" It's a plea. In fact, given its quiet, personal nature and that what she essentially wants here is some kind of intervention, it could be argued that it reads almost like a prayer. Obviously, at no point ever in the series is Raven depicted as either dependent or religious. She is literally one of the strongest characters in the series, if not the strongest. Yet when it comes to the Furans, she does not seem to believe she can free herself. Before, her only solo escape plan was basically suicide. In this moment now, it needs to be Max- who had saved her from them in the past- or nothing short of a miracle. And it's heartbreaking.
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I had a doctor's appointment this afternoon and just came back. some thoughts:
I love driving. it's amazing, it's great, it's the only time I really feel free.
... that is, until there is even a single car anywhere behind me. then I want to kill and murder and explode
those fucking insanely bright LED headlights should absolutely be illegal. half of the drive back I could not see anything because the fucker behind me had those.
this appointment could literally have been a phone call. I drove thirty minutes there and back and all he did was read the report from the MRI and say it's all good, see you in 6 months
my mother is so fucking dramatic. I dropped something off on the way back and said I don't have time to stay because we're viewing an apartment soon (my husband was already there on his own, I just wanted an excuse to leave). she asked where, I told her, and she kept repeating "oh [my real name]" in this melodramatic heartbroken tone. I was like ??? and she said that's too far away. it is literally 20 minutes from her house (vs 10 where we live now).
I wish I didn't hate new/unfamiliar places so much. that made me want to move very very far away.
if I do decide to change my name legally, there's no way I can do it before my mother dies. hearing her say my name makes me feel disgusting. I can not have her ruin another name for me
I spent maybe 5 minutes tops in my mother's house but that was still long enough to make all my clothes stink so bad. it's a mix of cigarette smoke, her fireplace, pets, and food. it's the worst smell on earth and I hate it so much
but when I came home and sat down, this happened immediately, so I feel better now 😌
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Do you have favorite actors for the various roles in "Cyrano de Bergerac"? I would love to hear your thoughts!
I do! I actually rambled a lot about this while I was watching the different productions I could get my hands on (I tagged it "Cyrano de Bergerac" and "I talk too much").
My favorite productions are the one with José Ferrer and the one with Benoit Solès, and those actors make the best Cyranos in my opinion. Though that's probably something in part beyond the actors' choice, their dynamic with their respective Roxane and Christian are the best ones, I think, and I find how Cyrano moves around these two particular characters at the core of a good Cyrano characterisation.
José Ferrer's use of his voice, which is arguably Cyrano's true most characteristic feature, is unmatched imo (although McAvoy does a very good job with this too), and he manauvers very well several of the different aspects of the character, such as his playfulness, his shittiness and longing. By the end of the play you believe he is the most beautiful man on Earth. Cyrano, however, is a bit pathetic (not just in a "pathos" way), and I'd say Ferrer gives off an air full of dignity very fitting of many scenes, but that eats almost entirely this aspect of Cyrano; Benoit Solès manages this very well, while also playing well with some of the other ones, such as the playfulness, the longing, the pain and the despair. Both Ferrer and Solès are hilarious, tender, a bit shitty, vulnerable, playful and sad. Albeit neither of them portrays 100% what Cyrano is, I think both come pretty close in slightly different flavours, and by the end of the play one ends up being terribly fond of them.
My favourite Roxane is Clara Huet in the production with Benoit Solès, but Mala Powers in the 1950 film is a close second. I think they portray wonderfully Roxane's spunk, and her mix of honest playful cheerfulness and her haughtiness, her intelligence and wit, and how much like Cyrano she is.
I've not come to love for now any Christian as much as I've loved Ferrer, Solès, Huet and Powers, but again I think the Christians in the 1950 film and the Solès productions are very very good. I love the dynamic they have with their Cyranos, especially the one Christian and Cyrano have in the 1950 film, enhanced positively by the added scenes (they actually work so well in showing their developing as friends, their deep love and care for each other!). I don't want to expand too much on this to avoid spoilers (beyond the already known 'Christian dies' ones I mean), but some things they do with both these Christians are a thing of genius, and both feel vulnerable, kind, ready to fight and truly desperate at times; I like when they do that.
There's an Italian production which has a Cyrano I truly enjoy as well, despite how they dumbify him more than I usually like my Christians. His mix of anger and deep pain when he discovers Cyrano's feelings for Roxane were so well made, and his physical presence makes you identify who Christian is even before the play starts.
The Podalydès production has two different Christians. The one in the version on youtube isn't bad, but @ride-a-dromedary likes Éric Ruf a lot. I actually adore him based on the clips and gifs she's posted of him, but I haven't been able to find the version with him online, so I can't know. But he truly seems one of the best. Based on what little I've seen, I love his intense gazes and subtle gestures.
I'm not entirely sold on any Le Bret, De Guiche or Ragueneau yet.
I think the German musical has a decent Ragueneau in vibes, and the 1990 French film does as well. I found his poem made song for what I think is a Spanish production (I'm not sure if it's a fan creation based on the Spanish production), and while I've not been able to find that production online, the song works well in vibes too I think.
The German musical's Le Bret in vibes is very good. He encompasses well his deep love and worry for Cyrano while also being done with his shit. They truly feel like close friends. The 1950 film kind of combines Gaston de Castel-Jaloux and Le Bret into one character, which sadly changes Le Bret's dynamic with Cyrano a bit, but that's a very good Le Bret as well. The one in Solès' production is pretty good too. He has my favourite delivery of the scene in which Le Bret chastises Cyrano for risking his life sending letters.
De Guiche is complicated. I think productions often make him too pathetic and laughable or too bad, so bad it makes the last act kind of not make sense. The 1950 one, the 1990 French one, the Kevin Kline one and the Solès one are all good, but I am not passionate for any of them either.
And basically that's it!
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