OK, fair warning to the few people I actually managed to convince to try the game??
Rain world does NOT play like hollow knight, and you'll get your butt kicked if you approach it like that.
It's really hard. Like, really hard. Instead of the game literally giving you abilities in the form of power-ups and damage buffs, the only abilities you gain is from what you learn and your own ingenuity. You're a rat from beginning to end. If you just beef your way through it, it's gonna suck and you're gonna be confused and frustrated all the time. But if you pay attention, take it slow, and learn how the ai works and how everything interacts with each other, you can consistently get through and dominate situations you thought were impossible to do so when you first began. Now get out there, kill some lizards, and bully some old computers!
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Okay so we all agree that thw is gorgeous, everything about it looks amazing, but one thing that bothers me is that all of the characters look too soft? They look airbrushed and their skin is too smooth and their hair looks too clean?? I feel like the first movie did such a good job, you know their skin had texture and they looked greasy and dirty and stuff, and I feel like we definitely lost that as we went along? This might've been a problem in HTTYD 2 I'm not sure, but I feel like the 3rd movie is the worst offender
i also feel like they changed their teeth as they went along (if i'm not mistaken they were like 15 in the first movie, and by that point you aren't losing anymore teeth (and vikings don't exactly have braces)), like they look straighter and smaller and stuff.
I'm not even gonna get into what they did to Valka bc that was egregious.
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shuffle your On Repeat playlist and list the first 10 songs that play, then tag 10 people
Thank you for the tag @echo-the-ghost!!!! Time to find...where my On Repeat playlist is... not me just searching for it instead 💀
Don't Forget - Toby Fox, Laura Shigihara
Worst in Me - Unlike Pluto
All That You Are (From "Lost Ember") - Solid Audioworks
Despicable - grandson
UP TO SNUFF! (I'm on Fire) - atsuover
MEGALOVANIA PHONK - Nueki, Tochonov
Toxic - Britney Spears
Tonight Is The Night I Die - Palaye Royale
Shadow Moses - Choir Noir
But Never a Key - Dirt Poor Robins
Oh like, almost all of these are from D&D OC playlists WHOOPS ^^; Most of them are Tiarnan or the toxic Tiarnan & Corrupted Moirin playlist, though there are a few songs from my work playlist, Killian's playlist, and like, one song from my Kasai campaign playlist.
tagging: @theitalianmafia, @emmettkane, @kingxxlink, @trucbiduleschouettes, @jesterdraws99-blog, @solarflame33, @dudebe-nice, @grand-theftautumn, @ninjasylveon, @eldritch-goth !! And anyone else who wants to join, feel free to still tag me if you want <3
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I'm starting to wonder if there is actually something legit about the 'right time' to turn Guillermo that Nandor keeps talking about...
It was brought up again in the premiere and something about how Guillermo said that "deep down I'm not ready [to become a vampire]" before Derek jumped him...
...what if Nandor hasn't actually been putting it off for no reason...what if there is actually a 'right moment' for it and this whole time we were thinking that moment had to do with Nandor being ready but what if it's about Guillermo being ready??
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Restorative or Transformative?: Homoerotic Subtext, The Closet, and Ciphers in Pop Culture. The nature of commercial art is that it’s sometimes bad and inconsistent. Notably it’s also misogynistic. One way in which audiences try to reconcile massive plot holes or gaps in character motivation is by reading secrets or hidden information into a plot.
Commonly, male characters are interpreted as closeted gay or bisexual to reconcile the absence of women from commercial narratives with the generally stunted and poorly-written male characters that form the focus on said texts. This reading has become especially common among a non-heterosexual milieu. Rather than transforming the original text into some radically different new form, this closeted interpretation seeks to make the original text stand on its own as a story rather than a Swiss cheese of dumb writing decisions.
This interpretation only works for a specific type of pop, usually genre fiction. Any story in which tortured male leads eschew women in favour of male-male bonds (because female characters are constantly killed off, written sparsely, or written out, because the production team keeps casting their male buddies, because actors demand to keep having scenes with their bros, whatever) can become a sounder structure if you put one of them in a closet.
The gay interpretation is the natural consequence of shoddy misogynistic writing from ventures like Supernatural, Naruto, all the biggest hits. It’s also the natural consequence of more benignly misogynistic writing like The Adventures of Sherlock Holmes or The Lord of the Rings, where women aren’t necessarily rejected but are simply absent from the worlds of the protagonists. When the emotional crux of the story falls on male-male interactions, this reads as romantic because society at large priorities (definitively heterosexual) romance as the pinnacle of human connection. Two forces are in conflict, the primacy of heterosexuality (read as: romance) and the primacy of men.
Anyway. All that is to say that the typical gay or bisexual reading of male characters in pop fiction comes from a very real place. But, in some places, that’s the default interpretation. Angst, insecurity, secrets, double lives, fatigue, disappointment, restrained passion, stunted personal growth, anyone living in the closet can tell you that it impacts and defines your whole life to know that you live in a way fundamentally incompatible with The Proper Way that life is structured around down to tax law and superstore prices (which assume a heterosexual nuclear family unit). Characters in fiction also tend to have personal problems because that makes them interesting and tasty.
If you’ve grown up on stories with the specific type of misogyny that can be papered over with a closeted interpretation of the male leads, carrying this interpretation over to any male character will make sense more often than not. Even a bit of angst or insecurity? Well of course that makes sense if a character is closeted.
Except that’s hurt a normal part of fiction, and sometimes the closeted interpretation takes away from the point of a character. If a male character is on another axis of marginalization, the closeted interpretation imposed by the slash reading community downplays or trivializes the effects of that marginalization in the plot by overwriting it with another type of marginalization. Alternately, sometimes a character’s heterosexuality is a part of the story. There are some sorts of critiques or investigations of misogyny or masculinity that don’t work if the character has an ‘opt out’ of the cisheteropatriarchal perspective. Not that gay/bisexual men aren’t except from misogyny, but misogyny masculinity and heterosexuality are so tightly linked that it sort of defeats the point if you interpret that character outside of heterosexuality.
All that is to say—the closet interpretation is a quick and easy spice to apply to the weaker parts of action-adventure genre fiction to make it taste better. It draws from a large enough sample of art that it’s pretty widely applicable. Because of that, it’s part of some people’s [my] default interpretation package just because the semi-dull macho show at least gets less dull if you imagine there’s a reason for there to be no girls besides simple hatred. That then forms its own problem where the interpretation that works with your average genre work gets then blanket-applied to all genre works and obscures the places where the closet interpretation doesn’t fix the work, and actually makes it less interesting.
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