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#but ONLY VAGUE spoilers
lucabyte · 3 months
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Comfortable in New Skin
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softsoaps · 11 months
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Safe in my arms
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oneinchfrog · 1 month
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do you think nigel dickerson and mr bonzo ever explored each others bodies
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sleepless-crows · 4 months
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hearing "look i didn't want to be a halfblood" in the show, despite reading it multiple times over and over, it hit me just what it meant. percy was saying he didn't want to be a halfblood, he didn't want to be born this way, and i guess that's something many of us can relate with. a lot of the time, whether it be because of adhd, dyslexia, or whatever else, we are made to think that we are broken. that there is something wrong with us. and yet, when you hear percy say those words, and you see just how much he has achieved as a halfblood and because he was a halfblood, it gives you some courage and strength that despite and maybe actually because of your own halfbloodness, or whatever makes you different and singular, you too can achieve great things
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sherokutakari · 6 months
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Okay but can we have Mary meet Ed
PLEASE can we have Mary meet Ed?
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leafykat · 1 year
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trimax
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jouxlskaard · 4 days
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Strap in, fuckers. This is a long one.
I've seen a lot of discourse and discussion recently about why TMAGP isn't resonating with listeners as much as TMA did, with a lot of people pointing towards the infrequent structure of each episode and the lack of subtlety that TMA had once excelled in. And while both of these are true, I think the main culprit that has caused these problems for listeners is one thing: the pacing.
TMAGP is only going to be 60 (Edit: 90) episodes long, compared with TMA's absolute behemoth of 200. When I'd found out about this, I'd assumed that it meant TMAGP would have a much smaller story - not having to establish as much information as TMA did, and allowing the story to have lower stakes as a result. This certainly wasn't a bad thing, as many sequels that have tried to one-up their predecessors have gone disastrously wrong, but I knew that the structure would be different to TMA as a result.
However, from the 12 episodes that we've seen so far, it appears that TMAGP is going to have similar levels of stakes to TMA - not the same stakes, of course, but they'll likely be on close to equal footing. This means that TMAGP has to establish the same amount of information to listeners with significantly less time to do it in, and the pacing has to speed up to adhere to that. In the first 12 episodes of TMA, we had established one possible recurring statement character (Gerry), a disturbing worm woman (Prentiss), and the fact that Jon doesn't like his assistant and refuses to believe any of the statements. In the first 12 episodes of TMAGP, we've established every important protagonist and what they sound like, two recurring statement characters (Bonzo and Ink5oul) with one that has already physically appeared, much of Sam's backstory and his ties to the Magnus Institute and the fact that something is deeply wrong with their workplace. That is a big difference.
This difference in pacing is what I believe is turning listeners away from what they'd originally enjoyed about TMA, because there's no longer that warm, comforting atmosphere when you listen to it. Its sound isn't designed to come from a tape recorder and a tape recorder only anymore; it's no longer a sit-down and listen to the Archivist tell you spooky stories for 20 minutes anymore; and, like I mentioned earlier, the structure is no longer the same throughout each episode. The horror anthology aspect, whilst still being there, has now taken a back-burner to the metanarrative because so much has to be established in so little time. To many, that's a bad thing. They listened to the original because they liked the statements, and the little things connecting them hinted to a much larger story at play. When this story was revealed, we got to see Jonny Sims and his brilliant prose at its best, because there was no longer anything to hide and the statements were in their purest forms - no longer having to establish information to the audience, and simply basking in the fear.
I'm sure we'll get to see the same thing in TMAGP once the narrative reaches that point, but the current pacing has uprooted a lot of listeners' expectations for the show. I'm going to listen to the entire thing, personally; yeah, it's different, and it doesn't deliver the same vibes and comfort as TMA did, and I probably won't be able to fall asleep whilst relistening to the more obscure episodes like I could before, but in a frankly disturbing way, I'm still fascinated with what Jonny, Alex and the other writers have created. This type of horror is the only kind that I genuinely enjoy, and I'm excited to see what direction Protocol goes in.
Edit: I feel like I should clarify that I don't see this comparison as something that takes away from TMAGP. Alex has said that it's going to be different from the get-go, and I do think that comparing it to TMA is an exercise in futility to an extent. I just wanted to talk about the shows together because I feel like they complement one another, and the narrative beats that I've talked about are less to do with TMA on its own and more to do with general narrative structure. We have buildup, payoff and pacing no matter what show it is, because that's what makes a story. I think TMAGP could be taken a little bit like Deltarune in terms of its relation to the original source material: separate entities with some overlap in character and themes. At the end of the day, it's still early days for the show and this entire spiel could just end up gathering dust - I just think it's a cool thing to think about, and it gives me an excuse to infodump about how pacing can affect a narrative and the audience's response to it.
I wrote this while my cat was laying on me. Have a picture as a reward for reading this whole thing.
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silversternart · 2 years
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Kenjaku but he tips his scalp like a fedora
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vaguely-concerned · 1 year
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I'm playing through Dragon Age 2 again and I just can't get over how... idk how to say it exactly, but the way you feel, in every moment of this game, how much Varric loves Hawke. It feels entwined with everything, it breathes through every part of the narrative, it blooms diegetigally through the integration of story and gameplay, makes you a co-conspirator in that love in a way maybe only a video game could.
It's in the way I don't think this story is a defense of Hawke only -- or even primarily -- directed at Cassandra, but at Hawke themselves. Beneath everything else going on there's the quiet, utterly unshakable refutation of Hawke's worst fears: Did you think you mattered, Hawke? Did you think anything you ever did mattered? . . . You're a failure, and your family died knowing it. Rising through the story as Varric tells it there's a fiercely tender voice saying: Yes, you did matter. In tragedy or in triumph, for better or for worse, in love or in hate, you always mattered. The ultimate tragedy of Hawke is always right there in the open before the story even starts letting you in on telling it; they couldn't fix anything. They couldn't stop the downward spiral Kirkwall was set on -- the real truth is that no one person ever could. And yet the point of DA2 is that it matters that they tried, and it matters that there were people who loved and were loved along the way, however badly it all failed in the end. Hawke is the Bioware protagonist who succeeds the least, and they're the character who matters the most, to me. (This is also why the Absolution reveal did not shake me in the least haha, my love for Hawke has nothing at all to do with whether they succeeded or failed at anything.)
What Varric is saying, in the only way he seems to be able to say the really real things -- through stories -- is so simple and so fundamental. You were here, and I loved you. There's the emotional heart of it, at the end of it all, that love and grief and recognition. It's so dizzyingly intimate. There's so much distancing, layers upon layers of obfuscation, to be able to say it. It drives me insane!!!! It makes me feel the same way that 'Poem' by Langston Hughes does:
I loved my friend.  He went away from me.  There's nothing more to say.  The poem ends,  Soft as it began,— I loved my friend. 
He loved his friend. They went away from him. What more is there to say. (Many, many, many things, when you're a compulsive liar and storyteller, but hey sometimes you have to deploy a whole armada of lies to tell one simple truth, I understand, I'm a writer too lol)
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goated33 · 2 months
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It’s not my fault! I’m not to blame. It is that wretched girl, the witch who sent this flame!
Inspired by @sharkscene ‘s tags
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slices-of-naranja · 3 months
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Hm. Leo Valdez and Nico bonding over religious trauma.
Everyone points out that Nico would be Catholic since Italian, y’know, yeah, makes sense. But Leo Valdez is Texan, Mexican, and his Tía Rosa literally called him a demon when he came to live with her after his mother died (if I remember correctly). His first response at Camp Halfblood was to ask if God with a capital G was real. (Which, fair, a lot do that, but still).
Brother could make fire with his hands, experienced the worst tragedy of his life because of it, and just lived seven years not knowing what the fuck was up with that??? Being called a demon at eight years old, after all that he went through, by a religious Mexican lady would definitely have a lasting effect. (Speaking as a Catholic Mexican).
Like, you’re not gonna tell me that some part of him didn’t secretly believe that. That it wouldn’t keep him up at night, wondering what the fuck he was. That he didn’t look back at his fucked up childhood, at the lava and brimstone in his veins, and not think “What if she’s right? What if I’m going to hell? What if I am a monster? A demon?”
Killing is a sin. Murder is a sin. And whatever the fuck he was, whatever kind of horrid creature he is, it wasn’t getting into Heaven. Don’t tell me he wouldn’t cry at the sight of a nun. Get nervous when his fosters would take him to church. Whisper silent prayers to be fixed, to have whatever was broken inside of him, whatever he was being punished for, to stop. To maybe stop existing at all.
I’m willing to bet that when an eight year old knows for a fact he isn’t human, fire flowing through his blood, and gets called a demon because of it during the worst time in his life, when not being human caused the death of someone he loves, it might stick with him. He might believe the words thrown at him.
So, yeah, I think Nico and Leo would get along.
Also- literally not in the headspace to articulate this correctly but I hope u see my vision.
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loremaster · 5 months
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this is a multi-part post! please reblog the complete version! thank you!
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radiantmists · 5 months
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the whole "it would be kinder to kill them" exchange re-contextualizes murderbot's initial willingness-- even eagerness-- to kill other SecUnits in an interesting way, doesn't it.
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havethehappyduometup · 5 months
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guys what the fuck was that.
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samglyph · 1 year
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Malevolent Part 31 Faroe lore out of context
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generallyjl · 1 year
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our scrumptious scoundrels!!
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