#and this doesnt even cover my issue with seven as a character but

[punkbxt]

the people in charge of nutrek dont care about the ideals and premise of star trek and star trek: picard is its biggest tell. its a story that would have been much better if they hadnt brought back legacy characters but also would have been much better had it not been written at all because nobody wants more space cops

the moment picard decided to wash his hands clean of the romulan android situation was the moment i knew that oh this isnt the picard everyone has come to know and love. at his core who he is someone that would not let anyone die if he could help it. like thats his thing if he has the power to help he will!! and yeah sure thats shown in pic too but he literally was like ‘fuck you federation im not gonna help u ignore the romulans cries for help’ when he fr coulda just asked for forgiveness after helping with the power he had as a respected captain or whatever he is. something EVERY oldtrek captain has done time and time again

and yes! characters and their ideals change over time but not fucking like THAT

pic takes a tragedy, a genocide, and takes the romulans, a species that has for the most part always been the enemies of the federation and makes them easy prey. it makes them evil except for those that defected or disguised themselves (look up white passing and what it was actually for and why its a thing). and to put it into more understandable words:

lets say the federation is usamerica (bc for all intents and purposes thats literally what it represents) and that the romulans represent people of color and jews. pic serves for us on a platter that the genocide was just another thing that happened and “its okay they died anyways. romulans have never been on the side of the federation and never wanted to be anyways so no loss” this is what the federation believes

pic has been severely affected by white supremacist and antisemitic ideology and like while yeah science fiction is used to discuss and challenge the oppression we experience today, youd think a franchise that has always preached about diversity inclusion and acceptance would finally get over mass genocide of a “lesser” race as a form of storytelling. its uncomfortable and not in a way in which it makes you think but in a way that shows that even hundreds of years in the future vitriol prevails and it fucking sucks. its harmful towards people of color and jews when even in science fiction we cant escape that someone out there wants us dead

we’ve had enough of white supremacy and antisemitism taking a lil seat at the table to cause ruckus there are 100% other things that could have created and interesting dilema. the federation is literally on some cristobal colon shit n the more nutrek that gets made the less star trek holds up the ideals of diversity inclusion acceptance and love that it preached from its inception. we are instead given a narrative that yeah no matter how long you fight no matter how hard you fight you will NEVER win because systemic racism always wins in the end. its a tired and weak narrative and just goes to show if you dont have any other engaging stories to tell just stop telling the stories and stop ruining characters by making them do things they absolutely wouldnt even stand for

we r stuck with characters that suck up to other characters just because of their legacy and the writing when everyone deserves to be way more mad at picard. sidenote all of the genuine progress that has been made in television with diversity and representation has gone like 20 steps back when it comes to portraying people of color bc not ONE from the main crew passes the paper bag test (again ive only seen season one) which further goes to show white supremacist ideals subtly shining through

the point of star trek is that there will be a better more welcoming loving kinder future than the present and the past. and yeah theyve never been good at portraying that exactly because hope cannot exist without despair. but if you do not learn the mistakes of the past you are bound to repeat them and clearly these writers have not been studying the source material

hope this helps idk man i just b saying shit sometimes sorry if some stuff is repetitive

#inspired by @trillscienceofficer ‘s liveblog of stpic #havent watched since season 1 so if some stuff is inaccurate whoops #and this doesnt even cover my issue with seven as a character but #i cant really say much bc id want to watch the whole thing to make more inferences abt her #tng has also already established the whole are androids sentient thing with data which just feels redundant in pic #star trek picard

[championofravens]

It literally doesnt matter to me what purpose "Cayde" will play in The Final Shape. There is not a single part of this I can like. I will now try to cover every reason why without getting outlandishly mad. Maybe some ppl will appreciate this.

1. Firstly, from a marketing stand point. I strongly dislike and disagree that our first ever teaser for The Final Shape is entirely a Cayde tease. Not just in the trailer but in the articles Bungie themselves posted, they are clearly pushing Cayde's "return" and his original VA as a big deal. The big deal. This is supposed to be why you preorder Final Shape, why you get excited for the very last expansion to this saga that's been building up for... eight, nine years? It's for the return of the dead franchise character. I feel this is a total disgrace and a complete slap in the face to any fan who cares about anything else in Destiny 2.

2. Secondly, there is right out the gate no way for me to like Cayde's return narratively. I am already braced that this is not actually Cayde, but it doesn't matter. What is this going to do to the plot of The Final Shape? What does this say about the upcoming story's focus? Lightfall literally just bombed on arrival for not answering questions, not having narrative focus, and for introducing and answering new mysteries in record time without tackling old mysteries. It was rushed sloppy and overly focused on showcasing Strand, the big *draw* for Lightfall, a new subclass. So this? Inspires no confidence.

3. What does Cayde coming back, even briefly, do to the last 3-4 years of storytelling since Forsaken? What does that do to the franchise's commitment for spending at least a full year tackling the issues of grief, rage, revenge in direct association with Cayde's story? This isn't including the continued storyline of Crow and Holliday who have served as legacy extensions of Cayde's story ever since. What does Cayde returning bring that is so essential to undermine and uproot so many months of well laid lessons on acceptance towards what a Guardian can and can't control?

4. Remember how Amanda Holliday just died? Remember how Holliday's last season was spent with her outright refusing to truly forgive Crow because Uldren killed Cayde, turning down his feelings for her? I don't think anyone is fully accepting that Holliday's only true story purpose since Beyond Light was to wrestle with her grief about Cayde in contrast to her budding relationship with Crow. And now she's dead. And now *Cayde's back*. It's almost comically cruel. And no, I don't think any of this would be "fixed" with Holliday coming back as a Guardian.

5. Cayde dying was, for so many people, a sort of narrative "promise" being made. Destiny was a narrarive with grim consequence, heavy themes, and now dead beloveds. No character is safe- this is how strongly the Darkness can play us even through like seven proxies. Cayde dying was the heartbreaking action of forces so much bigger than us playing a game we hadn't even yet conceptulized until his death. It was a turning point. Since then, Destiny has tried to find the right balance in who lives and dies in the story and the tone it wants to give to the spare opera. In my opinion, they haven't been striking out and this trailer truly spells to me that whatever promise fans thought they had made about the gravity of this story is squandered.

#destiny 2 #text #the final shape

[luxthestrange]

Momma Hen Mammon 3

Sorry for the wait, By accident as I was half working on this..I didn't save it and had to recall what I was doing in this chapter...

part 2: https://luxthestrange.tumblr.com/post/673010148377247744/momma-hen-mammon-2incorrect-quotes-150 part 1: https://luxthestrange.tumblr.com/post/672747425054769152/momma-hen-mammon

Luke is now playing the son of the house, With His momma mammon and Daddy Mc, The Lil D's acting as second characters on the game.

Luke: Mowma I finally know what imma be...I wanna be a baker! Your yummy treats inspired me to go to Pastry schwool!I know you want me to be like my pawpaw! BUT YOU TOLD ME TO FOLLOW MY DREAMS!*dramatically 'tears up'*

Mam*Has no idea how he got roped into this(The puppy eyes of luke)started to tear up and hug his 'son'*I DONT CARE IF YOU ARE NOT TAKING THE FAMILY COMPANY! I WANT YOU TO BE FREE TO DO WHAT YOU WANT MY SON!*Got into it pretty quick*

The two cried it out as Mc was watching the weird..but touching playdate, clapping at the act they put on After they 'ate' some of the toys shaped like food from Luke that establish a bakery with mc, mammon, and the Lil d's as customers(Shout out to @yaboihack for this idea!), They decided to play hide and seek, Mammon would seek them while the two ran away to hide outside the room...The only issue is...Both The Human and Toddler didn't know of the traps the castle had, One step incorrectly sets a booby trap and the floor under them disappears as they fall into the pit.

As Mc grabbed the toddler and was ready to take the blow for him...they landed on something soft and fluffy, As Mc open their eyes and tried to stop the angel from crying more..something started to growl at them six pairs of eyes were looking down at the two who landed on its belly, A giant black fur dog with three heads and flames bursting out his ears and nostrils.

Mc"....SHIT"

Luke"...Puppy"

-Above the castle underground labyrinth-

Luci: WHAT DO YOU MEAN YOU LOST THEM!?

That is what the firstborn shouted 30 minutes ago that shocked the entire castle, Now the seven lords, the prince of hell, and his butler, Simeon and Solomon are looking for them every nook and cranny, But they couldn't find them, If Simeon had a human heart he be having a heart attack...

LilD2:Lord Diavolo!Lord Diavolo! We found traces of the human clothes!*holding a teared-up shirt they were wearing*They seem to have fallen in one of the traps to the tombs!

As soon as The LilD2 said that their minds got flooded with the guardian of the tomb...CERBERUS, Cerberus is a hellhound that lives in the underground tomb and only obeys Lucifer...Everyone ran or flew as fast as they could hoping the Guard Dog hadn't harmed or...worse killed the two, Lucifer was surprised at Mammon who shifted into demon form and managed to get ahead of him.

What they didn't expect was for the giant hellhound to be licking the young angel cheeks, making the toddler giggle in fits of tickles, Or the Human to be put to rest on his belly with a tail covering them like a blanket.

Cerb*Ears back he gets happy pats by the soft tiny hands*

Luci:.......Cerberus

Cerb*Noticed the presence of Master and the others, Instant-serious mode..well 2 heads the other one is happily paying attention to the child*

Dia: It appears to me...Cerberus has been entranced by the little one..and think that Y/n is their Parent*Watches as even Lucifer can't get close to them without Cerberus growling at them*

Luke*Spot Mammon and Simeon, Using the third head as support to stand up, he waddles towards the two happily*PUPPY! LOOK LOOK! CAN I KEEP IT!

Sim*Doesnt think twice to grab his luke son, and hugs him and sighs in relief*Oh heavens! I was so worried luke*doesnt mind luke pushing him away*And no Luke, Cerberus already belongs to Lucifer...

Luke:.......*Looks at Lucifer*Can I pwease keep ceberus?

Lucifer isn't paid enough for this...Now He has an Angel, Human, Mammon, and now Cerberus on his back...

Today marks the day of Luke's family getting bigger and bigger...But once He found about Henry 1 or Lotan......That's a story for the third born and his own adventure with the sitter and the young angel

#obey me #obey me! #obey me! mc #obey me x mc #obey me x reader #obey me x gn!mc #obey me x gn!reader #obey me mc #obey me mammon #the great mammon #mc x mammon #mammon x mc #mammon x y/n #mammon x reader #momma hen mammon #obey me cerberus #obey me pets #henry 1 #obey me lotan #obey me brothers #obey me dateables #obey me lucifer #dad lucifer #obey me dads #obey me babysitter au #obey me series #luke is baby #obey me luke #luke is still baby #toddler luke

[antiloreolympus]

11 Anti LO Asks

1. I feel like when RS was drafting this story she wanted Hades and Persephone to be on a united front with dealing with their issues and conflicts instead of having conflicts with one another to get over to make them look “perfect”. However the flaw with that, is when the outside characters (Minthe, Hera, Hecate, Thanatos, etc) criticize their relationship were not proven they’re wrong. Thanatos said it was nepotism and it was. Not only is hades covering for Persephone who isn’t even working as an intern just sitting cozy in his office while she’s wanted for the police, but staying at his place also. Shady much? Minthe knew something was up with Persephone and she was more than right, not only does she train Persephone the day after Persephone kisses her ex she learns that Persephone commuted a genocide. Hecate and Hera are worries for Persephone for her reputation and being young and naive. Persephone is young and naive and can’t make friends at school because hades took some kids eye out. Over and over RS proves these characters right and not make me root for the main couple because they’re just bad and for each other. And remember when Tori and the yellow girl student (from persephones class) mentioned Persephone is sleeping her way to the top? She’s just smooching her way to the top guys it’s fine. Persephone should receive punishment for killing a bunch of people, turning a nymph into a plant with more than just community service and hades should stay the hell away from Persephone. I hate how RS used “the immortal dating pool is small” excuse but that doesn’t mean a 19 year old should fix a 2000 year old man’s issues 

2. wish persephone would just be evil. shes not a girlboss if she was girlboss whys she always like "im sowwy 🥺" and "i wish i wasnt a bad girl 😭🥺" like no. just be evil. and not in the "hi im a murderer 😁" way in the "i am a fully fleshed out character that has complicated actions and can stand on my own 😐" way.

3. just off how many LO episodes there are now, and if they roughly follow the same 25 episode count for each volume, then you'd have to buy well over SEVEN books just off the current count of 180+ eps. Seeing as it's going past 200 eps, then that's even more. now let's say you get the hardcovers, so thats over 300 dollars for all the current eps you cant easily read for free instead. more so, the art and writing gets worse the longer it goes on, so what incentive is there to buy these anyway?

4. does ... does rachel know the whole point to helios in the hxp myth was that hes the most unbiased source and will always be honest? along with him and apollo they legit cant lie. why would she purposely make him a liar? to be another stupid fake antagonist to hxp? he was one of the few people in myth who supported them?

5. what i find so annoying about lo stans is they act like critique of LO is somehow against some poor underdog and we should stop picking on her (which isnt what critique is). Rachel is NOT some nobody getting unwarranted hate for her indie project. she has millions of readers, she's a published writer, she has merch, even (minor) awards, and much more. stop acting like she's some helpless nobody who needs protection. she's a professional in the industry, not a child in of a white knight.

6. im probably wrong here but i heard someone say hebe in lo is permanently stuck as a child? tell me thats not true :(

From OP: I haven’t seen any confirmation that Hebe will stay as a child.

7. i get why rachel doesnt do it because she herself cantt depict realistic couples well, but s2 hxp is so boring??? like its a romance, the conflict should be in the romance, and while the couple wasn't the source for it in s1, you get why they weren't an item because of other factors. but s2, now that theyre together, theyre just too functional, you know what i mean? they have nothing in conflict, including minthe being turned into a plant! like how did they get stale once they became a couple?

8. i just cant take any plot, relationship, or character "development" in LO seriously (esp if its the characters not being ~perfect~ and actually being realistically written) because i just know it'll be retconned in a week or two, because rachel lacks a backbone to stick to any writing choice and her fans have no sense of reading comprehension, so theyll complain and she'll bend over to appease them. the writing in lo was always weak, but its only gotten worse the more "fan input" she takes in.

9. the wild part to me is literally the majority of the issues in lo are just stuff rachel didnt need to add. she didnt need to make persephone 19. she didnt need to add in sexual assault, she didnt need to make hades a slave owner. she didnt need to add in the aow. she didnt need to add 30+ plots she cant keep track of. she didnt need to make hera a cheater. she didnt need to have apollo, leto, thetis, etc there, and it goes on. like she questions who made her write this? look in the mirror!

-----FP Spoilers/Mention-----

10. FP mention

It really annoys me that it looks like Persephone's only concern about her SA is "Will Hades still love me even if I'm damaged? 🥺🥺”

I know that we saw her being disstressed about being pregnant because of her SA and that she said that she doesn't feel comfortable being around him but all that is just mentioned when she's around Apollo or he's mentioned somehow, we never see her feeling bad about her body as she says, nor we see her having bad days she's always happy and almost sexually available for Hades and it's never brought up unless it's for ✨the drama✨ or making Hades look like a "perfect man" for respecting her boundaries (that's just the bare minimun jfc) or just to make Hades and Persephone closer

Like jfc she was talking about her trauma and how she feels about Apollo and suddenly there's a joke about Hades wanting to kill him and then Helios appears and there's unfunny jokes about it?? Same vibe as Persephone talking about her nymphs friends death in the same episode where there's a fart joke and that "oops a maybe-underage-Perse is naked!!! So funny" scene

11. fp// no offense but rachel seriously going with leto is the cause of apollo's sexual assaulting ways was legit such a stupid and cruel idea that i thought "no, surely rachel wouldnt stoop that low to try and get out of her bad writing choices" and yet??? someone pray for her editor, they need it.

#anti lo #anti lore olympus #lore olympus critical #lo critical

[akechicrimes]

it does matter, actually, that goro akechi is a minor. not because this somehow exonerates him morally, or because this somehow makes him not responsible for his actions, but because persona 5 is invested in children as a source of hope for a better future. 

once i saw someone complain that people will defend akechi’s murders on the grounds that he’s a child/minor and how they felt that this doesnt excuse multiple counts of murder. and i was like, ok, well, im not sure anyone was excusing him, but alright, sure. and i’ve seen a few rebuttals to that, one of which is that shido and the other adults in akechi’s life had a responsibility to support akechi in such a way that it didn’t come to murder, and of course it’s on shido to just not be a massive dick who endorses fascism and murders in the first place. and i was like ok, well, this seems a little patronizing and dismissive of akechi’s agency and autonomy, but alright, sure.

in a very roundabout way of explaining my first two sentences, there’s one thing that bothers me lately, and it’s selim bradley from fullmetal alchemist: brotherhood. 

for those of us not familiar with fma:b, selim, or pride, is the oldest homunculus/artificial human in the show and the second-oldest villain, despite the fact that he looks about eight years old. of the seven homunculus named after deadly sins, selim/pride is the only one to survive the show--with an asterisk, which is that selim gets the “homunculus” part of him erased by the end of the show. with the “pride” aspect of him gone, selim is mortal, without any special powers, without memories of any of his amoral acts, and is generally just a happy, normal child.

which is a weird exception to fma:b’s general rule in which every other homunculus dies. even fan favorites like greed and envy don’t live, despite the fact that greed and envy are far more sympathetic as characters. selim kills multiple people on-screen, shows zero remorse whatsoever, and is an active helper in all the other mass-murders that the homunculi engineer. selim’s not an innocent in any way. also, he’s like, 200 years old? 300? he’s very old. biologically, mentally, emotionally, selim is not a child.

but fma:b goes out of its way to make sure that selim gets a second chance at a future, just because his body looks like a child’s. cut another way, he gets an exception from a large number of terrible crimes, up to an including participation in genocide, just because he looks like a child. 

fma:b reminded me that, outside of tumblr’s purity politics over children, and especially so in japan, children are socially constructed in a very specific way, beyond biological age and legal majority cutoffs. 

yes, biological age is a thing. yes, legal majority is a thing. i’m not saying that being a child isn’t a biological thing--it is, obviously. but what i’m saying is that there’s a difference between, say, the sex assigned to you at birth and your gender presentation, to use an analogy. there is a such thing as biological age, but the societal status of being a child of a related but separate thing. and this status of being considered a child is a societal construct.

the social construction goes like this, insofar as i’m aware: children should be good and silent and dutiful and work hard and go to school and listen to their elders, and their elders in turn should do everything they can to guide the children to the right path and build a good society for these children to inherit. (if we want more details on this, please see the entire history of filial piety in asia.)

so that’s a social contract right there baked into the social construct of childhood: children don’t have power, but adults have an obligation to make sure they don’t need power, and to make sure that the future and their children’s futures look bright. 

children represent the future, essentially. they’re the next generation. they’re simultaneously without legal rights as adults and in a very vulnerable position, for sure, but they’re also simultaneously considered the country’s most precious capital: quite literally the people who will inherit and lead the country next.

which, personally, i think puts a whole new spin on the phantom thieves in general. they’re not just kids who’re being rowdy or kids telling abusive shitty adults theyre being abusive and shitty--or, they’re kids doing those things, but they’re not just kids doing those things. they’re kids who’ve been specifically let down by adults who did not fulfill their social obligation to them. they’re kids who’ve been abandoned and neglected by the very adults who should have been paving the way forward for them, as society has asked those adults to do, because those adults have instead chosen to line their own pockets and cover their own asses. 

so the kids said: alright, well, then i’ll take power for myself, and i’ll make my own future. (which is where we get a lot of those promo slogans of “steal back your future” and junk like that.)

sae’s comments about how adults should do their part to fix the world for the kids is just a resolidifying of the way the world “should” work, and we could talk about her comments on the matter, but actually i wanna talk about yoshida.

i especially want to talk about yoshida because yoshida and shido are the two politicians we see the most of, and both of them spend a lot of time reciting political rhetoric to speak to the hearts of the general japanese populace. we all know the way that shido thinks of japan: a large vehicle that one person is in control of, and the masses just compose the throne upon which the ruler sits.

we also already know that yoshida’s a Real G, but it’s worth really close-reading some of his lines. he speaks a lot about apathy, the lack of caring for each other in society--a general willingness to disregard your fellow man, to not uphold one’s social obligation to each other. but he also talks a lot about the “youth”--which is not really uncommon for a politician, obviously, since politicians are always talking about “the children” and “the kids” and “the next generation” and “those damn millennials” and all that shit. 

yoshida instead gives us these fun lines:

A world where the young exist only to be exploited... is a world that must be changed!

And while our society appears to be prosperous, many of our young people are quietly suffering. They lack jobs, security, savings... The next generation will lead us into the future and yet they have no plan for how to arrive there.

Passing on the societal ills we have created to the next generation... is not right!

...the current administration refuses to discuss their plans for the future... Can we really accept such an utter lack of transparency?!

If you make a promise, you must keep it. If you make a mistake, you must atone for it. These are basic human principles that we have all learned from the youngest of ages... 

yoshida’s entire thing about how the adults have let the children down isn’t just him saying shit--he’s commenting directly on the fact that the social contract has been broken, and he’s putting the blame on the administration for not upholding their responsibility to secure a future for the children, especially since the children are the future of the country. 

this is partly why he doesn’t blame the phantom thieves for acting the way that they do; rather, he seems them as a logical reaction to the injustice that’s occurred as a result of the society that the adults have left for them:

I bet [the Phantom Thieves] are a group of young people. Young people who have experienced cruelty and injustice... They bravely face the societal ills that plague our world without thinking of the consequences.

(i think also in part he admires the fact that they’re anonymous and don’t benefit personally from their actions, which is exactly the opposite of what he did as a young politician. he also doesn’t throw the real embezzlement culprit under the bus to exonerate himself presumably for the same principle of desiring selfless public service instead of personal gain.)

in both the early parts of the s link and later on when yoshida starts talking with matsushita more extensively, akira’s important because he’s young--he represents the young demographic that yoshida and matsushita are discussing the future of. akira demonstrating support for yoshida in a public way means a lot because he’s a minor. matsushita asks akira for his opinions on the phantom thieves and other issues because akira is a minor. akira’s opinion is supposed to be heard and valued by adults, who should take his opinions into consideration and do their best to not let him down. 

this is tied into the general thread of yoshida being a person who was self-admittedly just as corrupt as everyone else, who was blinded by glamor and fame and money, who got caught up in political scandal. yoshida’s general acceptance of his mistakes as a human being and politician ties over to his general belief that it’s not that the youth are rebellious no-good teens, but that the youth have been let down by politicians like who he used to be. he blames himself, and because he is not too different from the rest of the older generation and politicians in general, he implicates a lot of the older generation and politicians as also blame-worthy.

his quest for redemption and atonement dovetails neatly with his views on the broken societal contract. taken together, yoshida’s s link implies to us the idea that the entire general older generation in japan more or less owes the children of japan a formal apology, and the older generation better get on their redemption arc and start being the vanguard of the change for children:

The reason [the Phantom Thieves are] causing a stir is because they are addressing the world’s problems. Setting aside whether their actions are right or wrong... there is one thing I can safely say about the Phantom Thieves. A belief with conviction... has the ability to move a person’s heart.

I’m sure you are all aware that I am “No-Good Tora,” the one accused of embezzlement. However, because I was accused like that, I was able to understand the suffering of the weak. Why am I in politics? In the past, it was merely for personal gain. But why do the Phantom Thieves continue to change hearts? I believe they do it for the world and its people. And in choosing to do justice for others, they had no choice but to disguise themselves. No matter what the world says, I fully support them. 

I’m just an average citizen. However, I will continue to voice my beliefs. I may not be able to become a Diet member this election... and I may not be able to effect change during my lifetime... but I’ve made my peace with that. I will be happy as long as I can be a meaningful stepping stone for the future of our youth!

okay. so that was a lot of close reading about yoshida. why did we do this exercise, tumblr user akechicrimes. 

there’s two takeaways from this. the first is the one that yoshida has already talked about extensively, which is that the phantom thieves are just but not because Fuck Cops and Fuck Capitalism and Fuck Anime Jeff Bezos. the phantom thieves are just because the people who are supposed to be upholding society aren’t doing their fucking jobs. the phantom thieves are specifically saying: we’ve been let down by society, so apparently we have to do everything our goddamn selves around here.

(which also ties in neatly to the general “fuck cops” vibe of persona 5 which, i would like to say, is very specifically “the cops are not doing their jobs.” the TV station scene where akira speaks back to akechi is, if i’m remembering this right, maybe the ONLY time we really hear “akira’s” opinion on the morality of his own activities, which is fascinating because he just does these things without ever justifying himself to the player--anyway, his three options are: (1) They’re justice itself, (2) They’re necessary, and (3) They do more than the cops. so akira can’t ever at any point say that the phantom thieves are bad, but his most interesting and detailed answer is to point out that the cops aren’t doing what they’re supposed to do, so who can really blame the phantom thieves for doing what the cops aren’t?)

the second takeaway is that yes, goro akechi does get more leniency because he’s a minor. 

yes. seriously. this isn’t a matter of excusing what he did, or downplaying the fact that he committing murder. i’m not saying that he wasn’t old enough to make decisions (although i would never say that he was old enough to make decisions, because he was 14/15 when he got wrapped up in shido’s conspiracy). i’m also not saying that akechi, somehow for some reason, didn’t volunteer himself willingly, because all the evidence points to the fact that he did (although of course “free will” is also highly circumspect considering his living conditions at the time and the fact that shido makes it clear that he was able to manipulate akechi without ever infringing on akechi’s sense of autonomy). i’m not even saying that akechi was driven to the point of murder and had no other choice (although i think that might also be true as well).

what i am saying is that under the construction of childhood as japan’s future and japan’s hope, akechi is considered a valuable member of society, and is therefore worth saving.

or at least he should be.

akechi says that he’s an unwanted child, but “unwanted child,” according to yoshida’s rhetoric (and a lot of japan’s general rhetoric of children as hope for the future) is an oxymoron. (or at least it would be an oxymoron if japan weren’t so fucking hypocritical.) you can’t not want the future of the country. you can’t not want hope for a good future. the very idea that a child could be not wanted or not valuable doesn’t make any sense, because children are the future--in some ways, whether you like it or not, that child is going to inherit the earth when you’re dead.

the kind of person who’d not want those things is--well, shido. (this is why i used yoshida; yoshida and shido are two polar opposite politicians.) shido quite literally does not want a good future for anyone in the country and quite literally does not want akechi and quite literally does not see akechi, one of the very young-person citizens that shido is supposed to be serving, as useful or valuable in any way unless akechi is directly promoting shido’s fame and popularity. shido being akechi’s father is just a very neat and nice way of literalizing the ways that shido, as an adult, has let down akechi as a child--the ways that shido quite literally owed akechi something to make akechi’s life and future better, and instead did everything awful.

there should not ever be a thing like “unwanted child.” that in and of itself, from the start of akechi’s life, was nonsensical. and to the extent that shido being akechi’s father is allegorical of the ways that shido is a terrible patriarch for japan, i would say that akechi, as an unwanted foster child, is just another allegory for the ways that children nowadays are treated as misbehaving, lazy good-for-nothings who have to work themselves into the dirt to be given half the salary and half the praise. akechi, as an unwanted child, is just the personification and representative of an apparently unwanted generation. 

what i’m getting at is that akechi’s status as a minor (and yes he’s a minor even if he’s eighteen; age of majority in japan is twenty)--akechi’s status as a minor is a critical part of why akechi gets a shot at a redemption arc. so yes, actually, the other villains or palace-rulers don’t get redemption arcs because they are adults, who had a societal obligation to do better by their peers and by the children of japan. yes, actually, akechi’s informal “trial” in the hands of fandom is to be tried as a minor and not as an adult. yes, i know kamoshida didn’t kill anyone and akechi’s literal crimes are more morally repugnant, but yes, unfortunately, being a minor does actually exonerate him on the morality spectrum to a degree. 

being a child matters in the larger scheme of persona 5′s logic of who owes who, who’s responsible for who, and why we should not be apathetic. adults owe children a better future. adults have been letting children down. adults owe every single phantom thief, including akechi, an apology, a better future, and health and happiness; and they owe that to japan’s future not as a matter of exchange or morals, but simple social obligation. adults are supposed to take care of the kids--full stop. 

”okay but @ tumblr user akechicrimes?? akechi KILLED people.”

yeah, i know. i said “being a minor does actually exonerate him on the morality spectrum to a degree.” 

what degree? no idea. that’s up to you to decide. if you want to play in the black-grey-white morality scale that only goes two ways, you’re welcome to continue to ask “what degree.” we can argue that being a minor somehow reels akechi back from the “black” end of the spectrum into the “grey” or “white” parts. 

but (if i may be permitted to go completely off the shits into things that might make people pissed off at me for saying) i implore you to consider that this two-way scale of morality is not the line of thought that persona 5 is pursuing. 

this, again, ties back into the social construction of a child. i’ve said “a child is representative of the country’s future” so many times i think it’s lost meaning, so let me dice it a different way: a child is socially constructed as representative of potential and hope. a child is socially constructed as the capacity for things to get better. in persona terms, a child is the fool at the start of their journey, all futures contained in one present, a vast multitude of could-be’s. 

for a game very concerned with japan’s general societal ruin, children are not just in the position of having been let down by adults, but are--as the phantom thieves demonstrate--representative of better futures regardless of how terrible circumstances look in the current day. they are a source of believing one day this sad, depressing story might actually end with “and then they lived happily ever after.”

if i may go even more completely off the shits, take a look at this heckler from yoshida’s s link, which is the one that akira speaks back to in the middle of yoshida’s speech:

...I’ve been wrong this whole time. Even though someone has failed in the past, it doesn’t mean that person can’t try again.

this is to say, redemption arcs insofar as persona 5 (and also persona 5 royal, i think) is concerned is not a question of necessarily addressing the wrongs that have occurred. yoshida sets the bar pretty high in that yoshida does not ask for forgiveness for what he’s done, and instead simply accepts his actions and their consequences without attempting to lessen the blow. he embraces what he’s done in all its awfulness. 

but because akechi is a a minor, and because akechi as a minor is getting wrapped up in persona 5′s train of thought about kids as the hopeful futures of japan, akechi is at the very least owed a chance to do better. as a minor, japan is societally contracte to give him the space to have the potential to be better and do better. nobody is obligated to forgive him, and indeed neither royal nor akechi ever seem to entertain this as a valid possibility. forgive, forget, reconciliation, retribution, and resolution seem to be all off the table, as if the very idea would minimize haru or futaba’s losses. the very conceit of the dreamworld in P5R wants to shoot down the very idea that the past can ever, to any degree, be fixed, remedied, or even emotionally resolved. akechi will have always killed wakaba and okumura and this fact will always be awful--full stop.

nevertheless, despite the fact that the past cannot be changed, akechi is still a minor. rather than attempting to resolve the issues of the past, akechi is still owed the space to become a beacon of potential change for the better in the future--which is also known as hope. 

i’ve said this in other posts elsewhere, but persona games are like, obsessed with hope. they fucking adore that shit. why not? even in difficult times, even when things are terrible and you’re going through misery, if you at least have hope that one day things will be better, that life will change, that the new generation will step up to the plate and make the story have a happy ending, pain becomes easier to bear. and why not? persona games cover a breadth of difficult topics. 

especially in a game like P5, which talks at length about modern day japan’s ailments, what good is it if the player walks away with a defeatist attitude that the future will be terrible? 

if reality is malleable like morgana says, isn’t the first step to have hope that this is true?

this post has gone on a lot longer than i thought it would. but in any event. that’s why it is valid to say that akechi being a minor “exonerates” him to a degree. 

also selim bradley lives because fma:b concurs that children are a hope for a better future and fma:b is particularly invested in this line of thought because it’s a story about edward transitioning from a child to a young adult who is learning about the ways that the world works and is also still just childlike enough to propose that the world shouldn’t have to work in the bloody, awful way that it does. selim is representative that all children should be given as many chances as possible to do and be better because they are representative of potential. if that wasn’t clear. lmao.

#meta #mine

[la-knight]

BOOKS I (RE)READ IN 2018: FURTHERMORE BY TAHEREH MAFI

"Alice Alexis Queensmeadow, 12, rates three things most important: Mother, who wouldn’t miss her; magic and color, which seem to elude her; and Father, who always loved her. Father disappeared from Ferenwood with only a ruler, almost three years ago. But she will have to travel through the mythical, dangerous land of Furthermore, where down can be up, paper is alive, and left can be both right and very, very wrong. Her only companion is Oliver whose own magic is based in lies and deceit. Alice must first find herself—and hold fast to the magic of love in the face of loss." "Red was ruby, green was fluorescent, yellow was simply incandescent. Color was life. Color was everything. Color, you see, was the universal sign of magic." "Love, it turned out, could both hurt and heal." "Narrow-mindedness will only get you as far as Nowhere, and once you're there, you're lost forever.” "Alice was an odd girl, even for Ferenwood, where the sun occasionally rained and the colors were brighter than usual and magic was as common as a frowning parent." "Making magic is far more interesting than making sense." So I actually read this book a few months ago and then recently reread it via audio so I could remember all the details for this review. I was first introduced to Tahereh Mafi’s work through her book Shatter Me, her debut novel. Ironically, it wasn’t through any of the ways I normally hear about books - Booktube, Goodreads, my best friend, Booklr - but from my husband’s aunt. She runs - or used to run, not sure if she’s still doing it - a book review blog. And she posted a review of Shatter Me and I was like, “What a weird, interesting writing style, lemme check this out.” At this point the entire Shatter Me Trilogy plus novellas had been published and I devoured all of them (still need to review those, too). So when I heard Tahereh Mafi was writing a middle grade book, I got super excited! Especially because this was during a time when I was too stressed out to read any YA, since most of the YA I like involves having to save the world and all the stress that entails. I need to lay out some trigger warnings real quick: the main character, Alice? Her mom is incredibly abusive, both emotionally and physically. It’s treated as not such a big deal in the book, which is honestly the story’s only real flaw, but it’s bad. It took me seven tries and resorting to an audiobook (and even with a fantastic narrator, that short audiobook took me almost a month to get through) because the abuse was so bad. So:

TRIGGER WARNING: THIS BOOK CONTAINS EMOTIONAL AND PHYSICAL ABUSE OF A CHILD BY THEIR PARENT

Let’s get started, yo! First of all, the setting. OMG. See, I love tthis thing called Victorian fairy tales, which is something you can find in books like Mary Poppins - these super fantastical bits of whimsy that just warm your heart and make you grin because they’re so creative and fun. In the Mary Poppins books, you can jump into chalk drawings and go to a circus amidst the stars and make friends with a woman who sells living candy-cane horses. In Catherynne Valente’s Fairyland series, there are shadow balls and talking phonographs. And in Furthermore, there’s light raining down from the sky in literal drops, sticks of magic you use like money, and forests full of invisible berries. The way the world is put together and described, so full of color and imagination, is awesome and beautiful and I could picture it perfectly. It reminded me in all the best ways of books like The Phantom Tollbooth (one of my favorites). But I wouldn’t want to live there, because Ferenwood is full of colorism and ick. Alice, the female lead, is an albino in a world where color is important and the darker you are, the more magical you’re considered to be. So Alice gets treated like garbage. 

Also I think Alice may be autistic, but I don’t know if she’s deliberately coded autistic or if Tahereh Mafi did it by accident while trying to make Alice eccentric, but she comes across as autistic. I’ve actually begun to pay more attention to that sort of the thing in recent years, being autistic myself, and I see it a lot - authors giving their characters autistic characteristics, often without meaning to. I just touch on it here because Alice is already treated badly for being albino, but she’s also considered a freak because of the way she behaves - like an autistic preteen. And I wonder if Tahereh Mafi did that on purpose as a sort of commentary or not, because while Alice is treated badly by the people of Ferenwood for her behavior, the Narrator (who is an actual character in the story; love when that happens) always sides with Alice in this regard. The storyline is sweet and I love it. Alice tries to compete in the magical testing all the preteens do on their twelfth birthday, and so she dances. And her dancing is magical but it’s not Magical, you know? So she fails the test. Well, turns out a boy who passed the test the year before, Oliver (the brat), needs Alice’s help fulfilling a quest - rescuing Alice’s missing dad. So they go on a quest together, although Alice hates Oliver (and rightly so, he’s rude). They go to a dozen different and cool places, all of which are dangerous and all of which are different. I wish we could’ve spent more time in those places but I understand why we didn’t. The only annoying thing is there’s an origami fox on the cover but it only pops up in one of the worlds for like two pages and then it’s gone and I thought we could spend more time both in that world and with that creature since it ended up on the cover. But alas, not. I understand why - middle grade is often cursed to be short, especially if it’s the author’s first MG novel ever. Once you get big and bad like Rick Riordan you can start tossing out gihugic tomes like Son of Neptune or Blood of Olympus on the regular. Oliver’s reason for needing Alice was one I didn’t see coming, nor was her magical talent - a talent they hint at throughout the book but never explain until near the end, at the perfect moment. I thought it was an interesting commentary on how young girls perceive themselves, that Alice hates this marvelous, amazing talent she has of bringing color into the world from nothing...because she can’t use it to change how she looks. Society has trained her already, by the age of twelve, to discount something incredible about herself because she can’t use it to make herself into what society wants her to be. That’s pretty impressive for a book this short. I loved some of the more deliberate messages in the work - the thing I mentioned about society’s pressures on young girls, and also that it’s okay to tell boys to screw off if they’re mean to you, and to have hope and to look for second chances (Alice thinks she only has one chance to pass the test and believes her life is over when she fails, only to find out she can try again the next year). I love all of that, and the lyrical and whimsical quality of the prose, and the world building is so creative and also makes me a bit hungry (people eat magic in this book, among other things; I wonder what it tastes like). Now...let’s talk about the abuse. That’s my biggest issue with the book. Alice’s mother is a total bitch. And not in a cool, kickass way like the lady in the show Empire. She’s vicious, she’s cruel, and she’s abusive. Alice knows - and the Narrator confirms - that she turned bad when her husband went missing, and apparently the worry for him and the strain of raising four kids on her own is making her hard and sad, but I don’t give a shit. I was hoping Tahereh Mafi would’ve gone all Hansel and Gretel on this lady and when Alice comes home with her dad, the wife’s dead or something. She beats Alice (at one point she beat Alice for chasing a boy out of the place where she was sleeping, even though he kept staring at her in her sleeping clothes, because apparently the boy - Oliver - had the right to break into their barn at 3AM and ogle Alice???), she verbally abuses Alice, she sends her to bed regularly without dinner, is constantly criticizing, won’t hug her or kiss her, and - this one really got me, for some reason - forces her to do illegal things. Those invisible berries I mentioned? Alice can find them and bring back whole baskets because of her magical gift, and so her mom sends her out to pick them all the time. If she brings home enough, her mom smiles. If she doesn’t, her mom yells and calls her names and sometimes beats her. Guess what? Picking those berries is illegal. We don’t find this out until much later in the book, but it is. The thing I didn’t like about the berries is that Oliver, who’s thirteen, is less concerned about Alice’s mother beating her for not picking enough contraband berries and instead focuses on how her ability to find the berries in the first place means Alice has really impressive magic. NOBODY seems to care how much Alice is being abused, not even the Narrator. The Narrator sympathizes with Alice’s hurt feelings and despair over her missing Father, but it’s never objectively stated that her mom is abusing her AND SHE IS. Yeah, her mom is sooo glad to have her back after Alice almost dies on her trip with Oliver, but so what? My roommate’s mom is so abusive that my roommate’s clergy leaders, doctors, and psychological therapist all said my roommate needed to cut ties with said mom, even though my roommate’s mom has also exhibited the same kind of “oh baby I’m so sorry, I love you so much” bullshit. That’s what abusers do. So I hate Alice’s mom. She literally makes her daughter feel like if she doesn’t risk her life numerous times AND bring her father back, there is no chance her mother will ever love her. And if she pulls that stuff off (which she does), then MAYBE her mother will love her. Nuh-uh. Nope. Hate that bitch. Other than that, I really loved this book. The characters felt real (Alice is me, but without my anger), Even the ones I didn’t like were still REAL, and well-drawn. The world building and word choice is fantastic. Basically, if you can get past the evil mom, read this book. World Building: 1 star Realism: 1 star Word Choice: 1 star Plot: 1 star Characterization: 1 star - ¼ star because Oliver Newbanks is an obnoxious little creep - 1 star because the mom is AN ABUSIVE EVIL BITCH - ¼ star because NOBODY DOES ANYTHING ABOUT THAT +½ star because Alice is amazing and has a genius brain and I love her Total score: 4/5 stars Would I Buy It: Yes! I own it and loved it enough I got the sequel for Christmas (in...2017...I've been sitting on this review for months...)! Would I Recommend: yes, but with trigger warnings. Again, highly abusive evil bitch mom who somehow doesn’t die.

#books of 2018 #book review #aesthetic #Furthermore #Tahereh Mafi

[yvvaine]

I was wondering if any [past or present] Jonerys, Pro-Daenerys fans like myself feel this way.....?

Firstly Id say please be nice i just enjoy analyzing the shit out of fandoms I like, (im a history/polysci major ((with an emphasis on Peace Justice and & Conflict Studies)) all i do is analyze and try to be diplomatic lmao) but considering all they petty drama between both ships as well as pro/anti Daenerys stans ON BOTH SIDES I’m going to be “That Person” and at least ask for people to be respectful/civil, I want to hear from everyone and their metas/what they think which is why i tagged like, all the tags, no matter if you love her/the ship or cant stand it, as long as everyone can keep civil So firstly I’ve loved Dany both books and show from the beginning. She’s gorgeous, wants to be the best person she can be, and her hair/fashion style game is always ON POINT.  That being said, somewhere around season 5 i think i’ve found my opinion on her cooling a little bit, ep after ep, till now. Like I still like her bc she was my first character love on the show but I’ve def soured in my opinion on her. Maybe it’s because I love learning about the subject that im more baised (im hoping thats the case) but she just seemed to have no interest in actual governance, just the reputation (esp of being the ‘rebel queen’)/the awe/the power/the thrill of the adoration that went along with it to the point where I feel like though she still wants to be a ‘good queen’ or at least wants to be seen that way, she doesnt want to do much work for the title. Like yeah she freed all the slaves and that was a def progressive and awesome move on her part (major props! slavery is sin and im glad someone recognized that who had the power to do something about it) but she didnt handle that aftermath or ensuing problems well at all nor really mulled heavily on the subject to find the best solution. She just got fustrated with pretty basic/common (albeit complex in themselves) issues of standard governance and kind of went agh! fuck this! (obv not actual quotes but that was the vibe I got). And then ESPECIALLY after season 7 her character has kind of nagged at me in the back of brain which i hate but its inherent like its just a feeling i cant help it?? I just dont know why to be honest that Im feeling so negative towards this character i used to love.  The whole ‘ bEnD thE knEe ‘ thing w/ Jon and yet pinning it on Jon’s pride not equally on his and her own was more than a little hypocritical, when hon they can discuss it later like at that point they have two common enemies the WW and Cersei they both want to do away with, and then again with the Bend the Knee or Die bit w/ the Lannister soldiers. In fact the whole sequence before that point felt kind of villinous I dearsay, I mean  deliberately burning the harvest that most of westeros needs for the winter or even strategically not willing to try, and well, nOOt intentionally burn the food considering its winter, the harvest is over (so likely not much is gonna grow in the time being) when she has a G I A N T ass army of her own to think of feeding???? Like i get it is war shit happens soldiers die but the F O O D ? Was that an impuslive in the moment mistake or did she just not give a fuck? And back to the aftermath scene/Bend the Knee 2.0, her speech was again quite hypocritical...and burning dickon?????? not willing to keep prisoners???? either bend or die??? I actually am glad she did away with Papa Tarly bc he was an awful human, but dickon????? a young idealistic man about to loose his father??? the heir to a major ally/house???? And honestly that bend or die strategy is soooooo dumb bc now she cant trust any of them like theyre only bending the knee out of self preservation homie, no one wants to die. they bend  the knee to survive and now they all of the sudden think youre their queen? Nah fam, prisoners were better, all you got are spies in your camps or people willing to backstab you at the smallest promise of coin. And i dont want that for my girl

IDK the whole “im gonna BREAK THE WHEEL,,,,,,,,yet im stating my claim mainly on my housename (aka the predominant force of said wheel for a literal dynasty) and the fact that i can scare people who otherwise are unconvinced bc lets be real westeros has had a bad run of rulers a lot of which were Targs in the past couple decades, into submission bc ill burn you otherwise???” doesnt sit well with me nor does it feel like the character ive been rooting for the past five-ish seasons. She just doesnt seem to put into effort on understanding Westeros, why things go wrong, being self-critical or sharing the blame,thinking on what a “good” ruler would do.... anyone else feeling this way and if so do you think this is just shitty writing? D&D butchering her character? or a new arc for her? perhaps the way shes always been? She just seems like a tantruming child bratty and entitled idk (a beautiful child but still)  As for jonerys...... im not gonna go into it much but how are other shippers happy????????? I honestly dont understand. I was SO looking forward to this season/this ship. like so much! But it felt so forced? And i know a lot of people claim its cause its rushed but tbh we’ve had a lot of romances in a similar time frame that felt like A C T U A L romances.....even Talisa/Robb who the Northerners will prob compare any of this too were so much better. THIS WAS MY EPIC SHIP DUDE. I feel the dany side of things (took a while but theres def heart eyes) and yet Jon???? He felt hollow. Still does even after sex. Im so disapointed but more than that I cant see the romance or the chemistry. He looks constipated. Hes never smiled like with his teeth around her the way hes done w others he cares deepily about (ygritte, toramund, sansa, even fkin gendry in the first scene they had together). He never reveals anything about himself. And between the “my queen” ep (and remember he was look warm when discussing her to toramund throughout it) and the previous the only thing that changed was that he saw the actual difference dragons made against WW. You could argue she saved them all too but that doesnt make you fall in love w someone out of the blue and also people have saved his ass before and??? Sansa w the vale anyone??? (Not an argument for jonsa js its happened) (though ill admit ive transitioned to loathing jonerys and loving jonsa more as a potential couple in the space of seven eps where if you asked me I wouldve been like PSH u cray. I never thought it would happen in a mill years but D&D ruined my ship and here i am! Shipping aside tho since its best too look at these things as neutral as possible).  Anyways the sigh of his after she left and when he pretended to be asleep.... idk. The only scene that felt genuine and where Jon smiled and it didnt look like a full on grimace and they actually kinda joked around was really nice and at the pit at the finale and if they do a LOT more of basic romance stuff like that I could ship it again but. It was followed by boatsex and boy.  I was hoping boatsex might rekindle my like for the two together. I could see the chemistry the passion. I was hoping the passion would overwhelm me and make up for the rest. But instead......like there was no foreplay, it lasted 2 seconds, and it was overplayed by brans voice and a reminder of future conflict or at the very least major angst b/w the two. i didnt see the parallel between regear and lyanna playing alongside their scene as anything romantic or that it should be taken as such. and the look they shared.... I was hoping jon would bring it bc Dany’s look in her eyes is like soooo smitten and adorable and say what you will I still have a space in my heart for her and still dont want her to suffer, but again Jon looks like oh shit/constipated. And not in a good oh shit way either.  There is a bunch more too but Imma stop there bc Im just tired at this point.  So many things were just....off this season. And it cant all be blamed on the “rushed” time frame. I’ve read the undercover lover theory and hon it makes the most sense (not perfect sense but still, more than what we’ve been poorly spoon fed) but im not willing to believe it just yet. Still, maybe D&D are just butchering a lot of things like making the romance believable and stuff for the sake of time that could be true i guess. But they like to go AHA GOT U so  Idk I dont find a lot of meta in the jonerys tag bc honestly (((((i think its bc the tag and ship are more popular and theirs more people both good and bad)))) it doesnt seem like snowballing theories is something all fans take really well in the tag at all. But whatever. I really want to know, is there any meta or theories im missing to either validate the icky feeling Im haveing about D or her “romance” or on the flipside anything that might make me change my mind about it? Theories, meta people! I just want to reiderate im not trying to hate on anyone or any point of view and I will flag any comment anti one ship or person or another if its plain hateful or rude. I just want to understand it and see what Im missing, esp because of how much I was looking forward to her arc and jonerys’ dynamic and how much the words “falling short” dont seem to cover it. And to see if im not the only one to either have critique on the ship or her character [or even actually change ships] Also i apologize for how much ive said “IDK” i just..... I DONT KNOW 

#this was way longer and is so rantish but #i might delete this later #depending on if i get hate for 'daring' to be critical #for now tho help a girl out? tel me your opinion? thx #jonsa #anti-jonsa #anti-jonerys #daenerys targaryen #anti-daenerys #plz be nice to eachother or just dont interact at all i just like knowing every side of things #and i feel like theres a side im missing or something im missing #i have a lot of feelings

[evenaworm-moved]

literally a summary of my entire campaign (or all i can be bothered to write right now)

@ghostofghostspast so you wanted to hear about my campaign

warning for a bunch of rambling, plot holes, and in general a big unstructured mess as this story is still very early in development and i havent quite figured out how everything goes together yet (and multiple people dont even have names) s o

also theres like. a lot there. i typed a lot. its basically the entire plot of the whole campaign which is: a lot. like i keep going back to update this part as i get further in writing it and im at 2k words right now- yeah okay back here after finishing (for today) and we got 3k+ words down here.

also, warning for gory and gruesome stuffs!

here we go!

the story and first arc, in a very original decision, starts out in a bar with the party members. the bar has a stage with a microphone at one side, and after a little while, a halfling women wearing a long black dress and an intricate heart locket steps up. also, killer heels. 

rather than singing, she pulls out a violin and begins to play. its.. gorgeous music, shes incredibly talented, and with every string her bow crosses over it just feels like you're getting pulled into a universe this song is creating. its almost... enchanting.

surprise you fuckers shes a bard and shes casting (a modified for plot purposes and kind of op version of) sleep. the players will get to make a constitution saving throw, to see if they get to stay awake or not. regardless of what happens to them, the entire rest of the bar falls asleep.

if they manage to stay awake, they can interact with her- enter initiative or talk or whatever, i dont know who these players will be and they could very well do something bizarre and unexpected. she’s going to attempt to rob the bar while the people sleep- if all three members of the party fail their saving throws then they’ll just sleep and awake to find the entire bar groggily rising and most of the money in the room  gone, along with the mysterious violinist.

throughout all of this the woman hadn’t said a word. if they stay awake and say catch her, and get into some sort of conversation, she will talk- but only telepathically.

no matter what happens, she will escape before the rest of the bar wakes up (unless the party pulls some really wild shit). depending on what happens the party may even end up leaving with her- if they don’t, the bar owner will ask them to track her down, as she just stole basically all the valuables in this bar she could get her hands on in the few minutes everyone was asleep.

one way or another they’ll find her- playing violin at a sort of.. community of thieves, having a get together. like a big potluck almost with a bunch of theives from different guilds and groups hanging out. getting there will involve fun side quests and fights, with more or less two slightly different routes: they’ll either be travelling alongside the bard (who’s name is Lealynn, for the record), or travelling alone, attempting to track her down to take her back to the bar and probably get paid.

once they’re at the gathering, they’ll meet a few different npcs- zaaki, a young dwarf boy looking for his dads. plural- there are seven of them and none of them are actually his dad he was just kind of adopted by all of them at once when he joined their guild of sorts at a very young age. or, more he was just taken in, as they all found him abandoned when he was like, 2. with some weird mishaps, they discovered zaaki to be a very powerful sorcerer that just needed some training. however, after several years bad things(tm) happened and zaaki has found himself seperated from all of them. zaaki and lealynn are the only ones here that have prominent roles, but they can talk to/possibly fight depending on what happens other minor people.

preferably they will not just attempt to fight everyone but also they might. if they have gotten here with lealynn, there most likely wont be any fighting at all, unless they just fuck shit up. lealynn will introduce them to the people around, and then probably leave them with zaaki to go play her violin for the rest of the people gathered here (normal music this time, no more disguised spells). if they came here on their own, lealynn will already be playing and they’ll have to figure out how to get in by theirselves. stuff’ll happen! i really cant tell what these currently nonexistent players will end up doing, but i will be making sure they dont fuckin kill off zaaki and lealynn, because we need those two for the plot gosh darn it. another possible way of them meeting zaaki would be, once they’re in, him just going up to them with a poster with seven dudes on it and going “hello have you seen my dads?”

eventually things will happen (wow!) and they'll discover that lealynn doesnt usually steal, as shes actually a very successful violinist and typically makes plenty enough money to keep herself living fine. however, one day she had met zaaki (whos like 8 at present time) and discovered his situation. his current next step in trying to find his dads was to go to a very popular arena, a place some of his dads used to like and go see fights at. the issue was zaaki only knows simple pit pocketing, and tickets are very expensive. lealynn agreed to help him get the money he needs so the two of them could go search for his dads there. lealynn explains all of this to the party members, with zaaki helping at some parts. Lea then asks if they’d be willing to help- they could definitely use the assistance in finding this poor boys dads, and she now does have enough money to get all of them in.

if my players dont say yes then well there goes the plot I GUESS. but with this the first arc ends. yay.

on to arc two! if youre still reading this then holy fucking shit you just read like 1k words of me messily explaining the start of the story and basically everything else is going to be the same sort of mess except possibly even messier

the party (now with lea and zaaki included) goes on more fun adventuring to get to the arena, which is in a somewhat discreet location as it might be slightly illegal? getting there is a little tough, but also on the way they’ll have some cool puzzles and battles as they check a few different places for zaaki’s dads. once they do get there they're actually sold out :^) also, amidst the time it takes to get there, they may get to find out some of lea’s story- if not, it will come up at other times, but to explain it in a simplified way: 4 or 5 years ago (shes currently 21) she had a girlfriend that she dated for like, 2 years. but stuff just stopped working out, as they do, and eventually she broke up with this girl. this totally wrecked the girl emotionally wise, and she threw quite a.. fit. she was a very powerful witch: and, placing a curse on the locket that she had previously given to lea as a gift, she took away lea’s ability to speak. Lea actually used to be a rather successful singer before this incident, and her salty ex was hoping to ruin her career by stealing her voice. it.. backfired on her, as lea adapted and became even more successful as an instrumental violinist. however, she still has no voice. the curse placed on her appears to reside inside the locket, but as much as shes tried, she cant remove the necklace or destroy it. after the fiasco that the breakup was, her now ex girlfriend vanished, and she hasn’t seen her since. lea still wants her voice back, and has spent her free time attempting to track down this ex of hers.

back to the present situation of sold out tickets:

there are several solutions to this puzzle! there are various ways for them to sneak in, or a mini quest where they can buy tickets from a secondhand source, or whatever creative stuff the party comes up with. eventually, they'll end up in the arena!

this arena is a place where gladiators fight each other to the death.  its obviously brutal and not for the faint of heart (zaaki’s poor little baby heart does not take well to this show). fighting tonight is a weirdly young elf girl, who’s only 12 years old. but she’s a fucking champion, and the crowd loves her. apparently she’s been fighting two or three years, as the party may be able to figure out by asking around (the party will also be asking around to see if they can find any clues on the location of zaaki’s parents, which may or may not be succesful depending on who they ask). this kid is named Flip, (im sorry i cant take any of my own characters seriously,) and currently she has a +6 in dex but this is just her at level 1 and she’s gonna be a few more levels up. shes extremely talented at what she does, her entire aesthetic is flowers but also: violently killing people with her big ol’ daisy covered mace. she does wild acrobatics and makes a bunch of one liner puns, all related to flowers. 

after a little bit while the show finishes, with flip beating two different opponents this night, and claiming a prize as usual. i plan on throwing in a spot in here where the players can actually choose to interrupt the fight, if say, their characters find this little girl fighting big, buff grizzly dudes too immoral. they can get theirselves wrapped up in a fight in the arena if they do this- but they can also just sit back and watch and flip will win because shes more than capable of it, the players just may not know this. it’ll definitely be fun to see what happens!

if they interrupt the fight there will probably be a few annoyed members of security, as well as an annoyed Flip. ur actions have consequences! i cant say for certain what all will happen here, but my intention is for them to be able to have a one on one conversation with flip later on in the evening (if they dont end up talking to her in whatever bizarre path they make, they can meet her at an autograph session after the show). they can talk to flip about whatever they want, maybe ask if she knows anything about the whereabouts for zaaki’s parents, or figure out why she’s 12 and a gladiator.

one thing they’ll also discover once getting near her is a necklace she’s wearing, that appears to be half of a metal flower. on a successful investigation roll,  there are more details they can discover: the flat side of the flower half has little notches in it, as though it has a matching half on another necklace that would fit into place with it. the words “little sis” are very carefully etched into the metal.

after talking for a bit, something... weird, happens.

Flip’s necklace begins to float, and suddenly the lightbulbs shatter and candles go out- its pitch black, and all you can see is this necklace floating in the air as it begins to glow. a disembodied, somewhat distorted, young womans voice rings out:

“Whats up motherfuckers.”

 the lights suddenly turn back on, the necklace goes back to normal, and the party will find Flip on her knees, gasping for air. a fresh cut is across her nose, one that will most likely leave a scar. security comes in, hearing the ruckus, but flip ushers them to leave. its safe to assume my players are going to be like “hey what the fuck just happened”

flip is going to explain, but only somewhat. she’ll talk about how, recently, she’s had issues with a sort of “haunting” as she describes it. she says that truthfully, she’s killed so many people, it could easily be any one of them, and that she has no idea which one it was or how to stop them.  This is a lie; Flip has a very good idea of who it might be, but she doesn’t plan on admitting it any time soon (or maybe she will idk what shit my players will get up to in these conversations)

(god ive been typing for like three hours i may have to go to bed before i can finish. whoevers still reading high five)

Lea will bring up that it seems she might need help; Flip will initially turn this down, and i cant really say where the conversation will sprout from there due to the fact it depends on my nonexistent players. the end goal will be for Flip to agree to group up with the rest of them; they all have something they’re looking for, and maybe if they all help each other eventually they’ll all fix their problems together. Flip should agree to meet back up with them tomorrow morning, and the rest of the party will go to an inn and sleep.

the next morning is probably where i insert a chance for the players to level up and go shopping for some items. its also the part where i give up at separating this story into arcs! i’ll figure that shit out Later

fuckin umm.. its late so my storytelling will probably begin gradually devolving. 

the next day our heroes will meet back up and discuss. Flip mentions that they may have most luck figuring things out with her haunting if they go to the arenas base of operations. the arena is somewhat part of a chain, all run by one person. he doesnt have a name yet but i’ve been calling him “mr. bitch business boy”. for now i’ll just call him mr. b. the party will travel to this place. However, Zaaki stays behind; he’s a little boy and doesn’t want to get super involved with all of this killing stuff! The other NPCs (and hopefully the players) agree to keep an eye out for information on his dads. its a large, sleek collection of buildings surrounded by a high tech gate and a bunch of people guarding it. 

for something kind of illegal, they’ve got a lot of big stuff going on.

there are three main areas they can check out: one, on the left, the smallest building. it has no windows and only two heavy metal doors. in the middle, you have the largest building,several stories, which does have some windows and looks kind of like.. a combination between a big fancy hotel and a business building, but also super like ~modern~ and stuff. it has a fountain in front. And lastly, on the right, is the second biggest building out of the three, but still considerably smaller than the middle one. while it is large, its still only one story. Flip can inform the party that the middle one is where the boss, mr. b, resides.

its the players choices where they check out first. but first, before any of that is seen actually, they have to get past security at the gate- this can either be done via initiative or via something else, up to them!

in the building on the right, they find a long, wide hall filled with seats and benches, and.. people. a lot of people, some holding papers, others holding weapons, and all looking like they’re both ready for a fight and a job interview. at the end of the hallway is another room, with a door and a big glass window  looking out at the rest of the hall. every once in awhile, a dragonborn man at the desk will call out “next” and someone will rise from the seats. Flip seems confused by this area, and Lea just seems weirded out by the entire business in general.

upon entrance, a few people will gasp at seeing Flip, and she’ll wave a bit to them. But one half-orc woman (un-named currently but also i love her) will run right up, going “oh my gosh, you’re flip, right?! i love all of your performances!” and the party will engage in a conversation with her. assuming that people ask questions, they can get a few answers. She’ll explain that this is where people apply to become a fighter for the arena, and it’s always been a dream of hers (what a weird dream man) to become a fighter in this organization. Flip is a little confused, as she didn’t go through any of this when she joined; but the half-orc says that sometimes there are definitely special cases where people are just found. if anyone mentions zaaki’s dads, she actually will know some things about them. she’ll explain that she was good friends with them, and when zaaki was really little and the dads were just getting the hang of raising a kid, she would sometimes babysit. however, she then gets a little sad, mentioning that she actually hasnt heard anything from them in a year. she doesn’t know where they are, but they’re probably not here. eventually she gets called up to go talk to the dragonborn behind the desk, and she bids you all farewell cheerfully and goes off for a.. sort of job interview, i guess.

there are a few other things people can check out here, but nothing i’ll bother mentioning here.

if they try to go to the tiniest room on the left, they’ll have to fight more security (no talking your way out of this one). inside they find a small hallway, some closets, and an elevator at the end that they just cant gosh hecking get open! meaning its puzzle time but i havent come up with a puzzle yet but THERS A PUZZLE and they solve it cool. once inside the elevator, they just see rows upon rows of buttons, starting at ground level (1) and then going down, down, down.

at any level they choose, they will just find large collections of rotting corpses, getting newer the deeper down they go. this horrifies flip, and if the players choose to view multiple floors, flip will stay in the small hall outside. Lea remains with the players, but extremely solemn. there are two special floors in this collection. there are 31 floors. at the 31st floor, they will find the most recent dumped bodies; and one of them is actually still just a little alive (but in a horrible, horrible state). It’s a tiefling man, and with a hoarse voice he will usher the players over. he does not ask for help, merely asks them to not forget about him. he tells them his name and his story in hopes that someone won’t forget he existed. if it occurs to the players, they can actually heal and help him escape this terrible mass graveyard. this will result in an advantage for them later on, and also just make them like fucking feel better about themselves y’know.

the other thing that they can find is on an undecided as of now floor, but will probably be a random number, as to make it less likely for them to end up at it. because what they will find is, well a bunch more dead bodies, but with a successful perception check they will notice one young woman's corpse that is wearing a necklace. this necklace has half a flower on it- and matches Flips. most of it is a bit rusted and dirty, making it hard to read, but you can more or less make out “Big sis” etched out into the metal. its the players choice whether they bring this up to flip once back outside with her.

Once grouped back up, Flip suggests they go and talk to Mr. B (if they havent gone in that building already). for once, security lets them in the building. inside is a rather extravagant sort of lobby, with two staircases on either side, and a semi-circle desk in the area between them. a dark elf woman with glasses sits their, seeming to be checking off things in a book. the players can go approach the woman, and ask to see mr. b

and i am not at all done (still have like, half a story and half the main npcs to introduce) but this is over 3k words and it is 12 am so i will stop for now, and continue in a new post tomorrow! 

if anybody has name suggestions for the bar owner at the beginning, the half orc lady, or the dark elf-- just lemme know i have so many npcs to name and not enough creativity. also, if you read all of this, just.. holy shit. gimme ur thoughts! 

also i am open for suggestions to name the campaign

#a tag for my campaign that i dont have a name for yet #this is SO long and its not even finished!!!! #aaaaaaaaaaaaaaAAAAAAAA #also @ghostofghostspast: #we're getting to the three gods and a crystal kid part #its jsut in the like second half of the story and i cant write that out right this second #this is my first time trying to compile the whole story into one thing #its all just been brainstormed in bits and pieces before this #feels kinda nice to start actually putting the pieces together but im also going wow what a MESS

[hellofastestnewsfan]

This movie was not supposed to be good. Here’s the plot: A middle-aged cardiovascular surgeon’s wife is killed by a one-armed man, and said surgeon is sent to death row. But his bus crashes on the way to prison, then a train crashes into the bus crash, then Dr. Richard Kimble escapes to go on the run with five U.S. marshals on his heels. This is literally the opening 20 minutes of The Fugitive.

Not even the actors themselves were convinced The Fugitive was going to be good. Harrison Ford thought it would be his Hudson Hawk, Bruce Willis’s $51 million flop from 1991. Tommy Lee Jones, who plays the lead marshal, thought The Fugitive marked the end of his career. But then this action thriller, the one that was written off as quickly by its stars as its hero is by the law, became the third-highest-grossing film of 1993. And then it was nominated for seven (seven!) Oscars—including Best Picture. And then it actually won one of those Oscars (well, Jones did). Perhaps even more surprising is that this piece of $70 million popcorn amusement from the ’90s is still a cultural touchstone 25 years later, largely because action movies like it are so rare now.

A year before The Fugitive arrived, its director, Andrew Davis, didn’t think much of the genre. “The basic underpinnings don’t have any soul or value,” he told The New York Times. “They’re totally incredible so you don’t believe them. They’re dumb stories.” He himself had worked with Steven Seagal twice and Chuck Norris once, two icons of black-belted brawn that sparred with Hollywood for a spell, until they were knocked out by the metastasizing blockbuster industry. As Ty Burr wrote in his 2013 book on fame, Gods Like Us, “To protect that opening weekend and the larger investment, the [movie] business needed stars to be inclusive rather than divisive.” This, he notes, was “one reason why there was a gradual move away from the bulging ’80s cartoons like Stallone and Schwarzenegger toward more believable Everyman action heroes like Bruce Willis in the Die Hard films.” And, though Burr does not name him as an example, like Ford in The Fugitive.

The writer points to Ford as the first modern-star brand: “the action figure with attitude.” Whether as the rumpled and roguish Han Solo or the hunky scholar Indiana Jones, Ford had imbued the genre with sardonic sexiness. And by the early ’90s, he had appeared in no fewer than two thrillers—Presumed Innocent (1990) and Frantic (1988, as another Dr. Richard)—about men mixed up in crimes they were racing to solve. It was this man who eventually handpicked Davis to adapt the ’60s TV series The Fugitive after seeing his work in Under Siege, a film that prompted the Times to identify Davis as the “Director Who Blends Action With a Bit of Art.”

“Does this guy ever quit?” one of the marshals asks toward the end of The Fugitive, and the answer is no—both for Dr. Richard Kimble and for Davis. For two hours and 10 minutes, this film does not relent. Not even for a cup of coffee (that scene was cut), not even for some shopping (cut), not even for romance (also cut). There is no hanging out here. Everything rushes. If it isn’t the actors, then it’s the camera with a Where’s Waldo? view of Chicago, the hometown of both Kimble and Davis; if it isn’t the camera, then it’s the swelling orchestral music. And the urgency is a good thing because every pause introduces a new threat—a passing cop, a skeptical doctor, a nosy guard. Even the exposition speeds by. The instigating murder itself, presented in slo-mo monochrome over the opening credits, unravels in concert with Kimble’s interrogation and his conviction, a simultaneous chronology that compresses time. As Matt Zoller Seitz wrote of The Fugitive on rogerebert.com last year, “The multilayered, at times prismatic way that it delivers information feels like an evolutionary leap forward for thrillers.”

The Fugitive’s success relies as much on plausibility as it does on velocity. Despite the soaring set pieces, the film somehow manages to remain grounded in a kind of palpable reality. “It is just so nice to watch a movie about normal smart people instead of insane super geniuses,” The Washington Post’s Alyssa Rosenberg tweeted in 2016. And though the characters’ antics could scarcely qualify as “normal,” significant portions of the film’s budget were spent on bypassing CGI in favor of creating real sets—like for the train crash ($1.5 million) and the dam jump ($2 million). Ford also insisted on performing his own stunts despite having a double and being 51. That is him flying through the air as if to jump from a train (on ropes, but still), that is him standing on the edge of North Carolina’s Cheoah Dam (a rope attached to his leg, but still), that is him limping through much of the film because he tore a ligament and refused to treat it. And that is him acting the hell out of everything in between.

“It’s the moments between actions that I think are really important,” Ford says on The Fugitive’s 20th-anniversary disc. With so little dialogue, the actor essentially resorts to silent-film acting, which is only buoyed by his hangdog handsomeness. “Rare among action heroes, Ford is believable both in control and in trouble, someone audiences can simultaneously look up to and worry about,” Kenneth Turan wrote in his 1993 Los Angeles Times review. Watch as Kimble, about a quarter of the way into the movie, painfully deliberates on the lip of that dam as U.S. Marshal Samuel Gerard (Jones) points his gun at him, waiting for Kimble to surrender because, Gerard posits, there’s no way this guy would do “a Peter Pan.” Right before that, their positions are reversed when Kimble grabs Gerard’s gun in the confusion of the dam’s water-logged tunnels. Face to face with the marshal for the first time, the doctor points the pistol at his pursuer and proclaims, “I did not kill my wife!” Gerard, his hands up, half-kneeling in water, a look of bafflement on his face, responds: “I don’t care!” To this, Kimble issues a faint smile: Game on.

While Kimble speaks through his actions, the man chasing him has all the best lines. Gerard was supposed to be a solo Javert-esque force, but Davis gave him an entourage to accentuate his leadership, and the result is some of the best banter in any contemporary action film. Jones, a Texan who graduated from Harvard with an English degree, had worked twice before with Davis, who knew Jones did a lot of rewriting and improvising. The cast—which was ethnically diverse because the director wanted to reflect the demographics of his birthplace—established their characters alongside Jones, coming up with dialogue on the fly. The four marshals include Jones’s right-hand man Cosmo, played by Joe Pantoliano, whom Davis told he cast because he needed “somebody who’s gonna have the stones to banter with Tommy Lee Jones.” Cosmo and the others highlight Gerard’s humanity and tenacity while also gift wrapping the film’s exposition in wit. One of the movie’s more frequently quoted lines, which Jones conjured the morning of the shoot, has him telling a marshal who claims he is “thinking”: “Well, think me up a cup of coffee and a chocolate donut with some of those little sprinkles on top, while you’re thinking.”

Gerard and Kimble’s symmetrical relationship is enunciated by the film’s six editors (all of whom were nominated for Oscars). Each chase scene cuts back and forth between the two characters. Even when the pursuit lets up and Kimble is contacting old friends and crisscrossing Chicago to find out why his wife was killed, Gerard’s investigation parallels his. As the film progresses, Gerard’s affinity for Kimble grows, too. “What makes their relationship fresh is that it is constantly evolving,” Gene Siskel observed in his Chicago Tribune review. Twenty minutes before the end of the movie, a neat flip occurs in which Kimble goes from being followed to being the leader. He directs Gerard to one of the men responsible for his wife’s death—Dr. Charles Nichols, Kimble’s colleague who actually wanted him dead in order to cover up a failed drug trial. Another flip takes place in the climactic showdown where Kimble confronts Nichols: Kimble saves Gerard’s life, despite believing that Gerard is intent on taking his. In the end, the marshal escorts Kimble out of the building as his protector.

Though The Fugitive established Chicago as the place to shoot, it’s perhaps more notable for being the best of a genre that no longer really exists: the character-driven Hollywood action movie for adults. As Davis told Mandatory in 2013, the industry has gotten to a point such that if a film “doesn’t have tons of eye candy where a 22-year-old in some other country can just enjoy watching it, then [it] hardly get[s] made.” This is the world of tentpoles and franchises and event cinema, a world in which everything must bow to the demands of accessibility.

While “old-man action” movies like Taken and The Equalizer could be considered descendants of The Fugitive, they lack its character development. Those thrillers that are character driven—say, No Country for Old Men or Hell or High Water—are less popcorn, more art. The Fugitive acts as a placeholder for a time when adults could be entertained by action heroes without being condescended to (see Die Hard, Lethal Weapon, The Firm, Patriot Games), which is why many viewers who saw the movie as kids in the ’90s, and who are adults now, wield it as a nostalgic marker of taste.

In 2015, the same year a Fugitive sequel was announced, the comedian John Mulaney released a special called The Comeback Kid in which he digressed mid-joke into an explanation of the original film’s plot. “Why does Kimble confront Nichols?” he asks. “Well, I know we all know this, but … ” And then he goes on to rehash it anyway because The Fugitive is the kind of movie that can be rehashed voraciously over and over and over again. Siskel watched it twice before reviewing it in 1993 and already wanted to see it again; Seitz saw it 10 times in the theater upon its release; and I have replayed it upwards of 30 times over the years. What I once believed to be a guilt-ridden affinity for a mindless puff of Hollywood excess, I now understand as an appreciation for a kind of modern-day moveable feast. As Gerard’s relationship with Kimble transformed, so too has mine. I thought I didn’t care, but I do.

from The Atlantic https://ift.tt/2LZYMVJ

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