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Reframing Narratives With Ecocriticism, With Dr Jenny Kerber
In this episode, Ariel discusses the topic of ecocriticism with Dr Jenny Kerber, Associate Professor of English at Wilfrid Laurier University. What is ecocriticism? Why is it important, especially for environmental activists and solarpunks, as a narrative reframing device? Solarpunks work very closely with speculation and imagination and as architects of the narratives by which we live our…
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nicholasandriani · 1 year
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Engaging with Media in a Non-Linear Way: The Importance of Ergodic Reading and Arseth’s Cybertext
Whether you are playing a video game like Pentiment or watching a series like Supernatural, engaging with media in a non-linear way is becoming increasingly important in the digital age. Ergodic reading allows us to approach narratives with an open mind, explore different pathways through the story, and actively shape the outcome of the story. In this article, we explore the concept of ergodic reading and how it can be applied to modern media consumption
Arseth’s “Cybertext: Perspectives on Ergodic Literature” is a seminal work in the field of digital literature and interactive narrative. In this book, Arseth introduces the concept of “ergodic literature,” which he defines as literature that requires “non-trivial effort to traverse the text.” This effort may involve the reader interacting with the text in some way, such as through clicking on…
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catrollsdice · 6 months
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Fjorester: Engaged Edition
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in honour of today's beautiful gift
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the-kipsabian · 1 month
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saw a take so fucking rancid on twitter i almost deleted the entire app from my phone jesus fucking christ
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first of all ao3 is an archive site. this is like going to the library and saying "oh i dont like this" on every piece of media you find that you dislike and thinking they should be stamped with some sort of a marker just cause you didnt like it
you can always click back and leave. fic writers owe you nothing to explain themselves and their creations. if they have mistagged or miscategorized fics, then i understand, however there are report tools for that instead of yelling at the artist tbh
im not saying free works arent necessarily above criticism. but this is just. fucking wild. its common courtesy to just enjoy stuff (or fucking leave if you dont, the back button is free) and if the artist specifically asks for critiques, then give one - constructive that is, shitting all over someones work is not proper criticism, mind you
i just find it fucking wild people are treating art and archive sites as social media these days like this and everything needs to be policed and ~catered to the algorithm~ like. no. ao3 doesnt have an algorithm. you should be able to fucking tell what you like and what you dont like and steer away from that kind of content and let people fucking be with their art. they dont owe you anything (except trigger warnings i'd argue, but i know some people disagree with that as well for some reason), and imagine how much more energy you'd have if you only engaged with things you liked and spent time looking at instead of going to places where you dont enjoy yourself. let alone spending time telling other people you dont enjoy what they enjoy. what a fucking life
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shatouto · 7 months
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i did a dumb friendly fire and blew off nearly half of astarion's hp (i'm so sorry astarion)
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Daughter of the Red Moon.
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sinclairenthusiast · 9 months
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breakthrough
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elizareed · 6 months
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every day I log onto tumblr dot com and I have to see people claiming charlotte bronte wasn't a feminist unlike their totally unproblematic fave jane austen and I am physically unable to grab them by the shoulders and giving them a good shake and it makes me real sad
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pagesinmylife · 1 year
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Am I ready to watch TBoSaS? YES
Am I ready for all the horrible takes from strangers on the internet that don’t understand the point of the story and the complexities of the characters??
No.
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linktotheheart · 3 months
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I feel like so many people misunderstand BOTW/TOTK Link especially (Zelda too, but that's another topic entirely)
His lack of expressiveness IS a personality trait. It's a direct result of the pressure on his soldiers to be a perfect soldier, hero, and savior. No, he's not Skyward Sword Link, and never will be, because his story is completely different.
"But [other Link] hugged Zelda when he got her back!" and this Link maintained a respectful distance as his princess's subordinate - but ALSO out of respect for Zelda as a person, because she spent her whole childhood having her agency denied and he wants to let her initiate even something as simple as platonic contact whenever possible. He's being kind!
(And yes, I know that primarily only the "he is a knight and she is a princess" part is directly supported in the actual game, but I'll remind the people making comparisons that the dynamic was COMPLETELY different in their favorite comparison game, Skyward Sword. But also... look at the gentleness with which Link interacts with Zelda, the tenderness that he shows so few other characters - Mipha probably being the closest example. Look at the way he looks to her first to see what to do in every scene they're in together, unless he's protecting her from an immediate threat to her life. Notice how outside of that, Zelda IS usually the one to initiate any physical contact)
I also personally hate it when people describe quiet, not very expressive people as "lacking personality" because... my partner IRL is like that. If she expressed herself at all around most people, it's in a very flat, reserved way. I've seen how it hurts her that people treat her like she doesn't have a personality, like she isn't even a full person - and I know that's real life and Zelda is fiction, but come on, do you think all the people that aren't highly expressive and extroverted don't hear that about very popular characters and internalize it?
Being reserved is a personality trait. Being cautious and not impulsive is a personality trait. In fact, I'd even say just because you as an expressive, extroverted person see Link as a blank slate to project your own personality onto, doesn't mean he actually is or was even intended that way.
(I also think this is a very US-centric point of view, honestly. There's plenty of cultures where even BOTW Link would be considered at least close to average - Finnish culture specifically comes to mind, even if he's still slightly exaggerated in that regard as, y'know, a character.)
Idk, this is as much a silly little vent post as anything, it's not that serious, etc, but whatever
(and don't get me started on "oh Zelda got no agency in TOTK and she learned the powers she was struggling overnight". No, it's called a time skip, and just because she learned her powers before the 13th hour this time - which yeah, she would get them easier this time with a mentor who could actually use the same powers, and having already learned to use her light powers - doesn't mean it just "happened overnight". And... she didn't express agency? She was actively influencing the entire flow of the timeline, changing the actions of her ancestors by convincing her ancestors to act, learning to control her powers and fighting Ganondorf, and finally expressing the ultimate form of autonomy in choosing to sacrifice herself to save the world. Some of the criticisms of TOTK didn't even seem to play the same game. Just because a heroine isn't a pop feminist badass who *gasp* wears pants and easily and perfectly kicks every villain's ass, doesn't mean she "has no agency" and is being sidelined. Like, a princess engaging in courtly politics is neither powerless nor "doing nothing")
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nellasbookplanet · 8 months
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I know this is old hat to just about everyone, but I'm more and more enjoying Imogen and Laudna as not just a mirror of the Briarwoods but also, and perhaps even more so, as a foil.
Laudna may be the death magic goth with a necromancer in her head, but out of the two of them, Imogen is the stronger mirror of Delilah. She’s the one with the undead lover, the one prepared to break the world by risking Delilah's return as long as it got her Laudna back, the one with the drive and the thirst for power and knowledge. Laudna meanwhile, while also tempted by power, is mostly just along for the ride, deeply devoted to Imogen over anything or anyone, alive only because Imogen found a way to resurrect her. They have looked each other in the eye, recognised the same seeds of darkness and the possibility of giving in, and said 'Together either way'.
But they are also in many ways a direct subversion of the Briarwoods. Delilah and Sylas both seemed perfectly happy to have made a pact with Vecna and revelled in the power he granted them, even knowing the disaster he would bring and the horrific acts he asked of them. Imogen and Laudna meanwhile, while tempted by power and openly voicing said temptation to each other, actively fight against it. Imogen was prepared to risk Delilah's return for the sake of Laudna's resurrection, but she would've fought her every step of the way. She's tempted by the power and knowledge of Ruidus, but also prepared to give all of it up if it means saving the world, because unlike Delilah she chooses to care about people other than herself and her lover. Laudna may be prepared to follow Imogen into hell itself, but she may also be what would lead her back out, because unlike Sylas she doesn’t just recognise darkness in her lover, she wants to fight it alongside her.
This is what I mean when I say these two hold the potential for great darkness. They wouldn’t function as a mirror and a foil of the most romantically iconic critical role villain duo if they didn't. But holding the potential for darkness and corruption also means holding the potential to resist and fight said darkness at every turn. It gives them the potential to choose kindness and struggle while still keeping a little bit of that darkness in their hearts, because without it, they never would have found each other.
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anilucy · 9 months
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Beauyasha in a nutshell.
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pocketgalaxies · 1 month
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crazy how in c2 they'll have three extensive convos checking in with each other while traveling like an hour in-game meanwhile in c3 they've been on the moon for days and still haven't discussed the following:
laudna fucking ate a guy
imogen's mom is a mythical legend amongst the enemy
orym vs. laudna's response to imogen giving into predathos
how did chetney suddenly learn to make hypnotizing toys
delilah briarwood
"some of us are expendable, we should get captured"
anything and everything they said during the trust exercise, including but not limited to:
laudna not being able to distinguish her thoughts from delilah's
imogen's disgust at delilah's inevitable presence
chetney's fear that his new family will leave him
orym's feelings about dorian
fcg relieving stress through murder
fearne's insecurities about their chances of success
ashton's guilt about the shard
and more!
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caeslxys · 4 days
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I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
#critical role#cr spoilers#bells hells#orym of the air ashari#cr meta#imogen temult#ashton greymoore#liliana temult#this is genuinely completely written in good faith as someone who loves orym#but is also about orym and so will inevitably end up being completely misconstrued and made into discourse. alas#I could talk about how Orym’s unwillingness to allow the hells to actually finish/come to a solid conclusion on Philosophy Talk#is directly connected to one of the largest criticisms of c3 (that they are constantly having these conversations)#all day. alas. engaging with orym’s flaws tends to make people upset#it is ESP prevelant when he walks off after exclaiming ‘they (vangaurd) are NOT right’#which was not only never said but wasn’t even what they were talking about#he even admits as much to imogen like ten minutes later! that he is incapable of viewing it objectively#which is 100% justifiable and understandable but simultaneously does not make his grief alone the most important perspective in the world#also bc i fear ppl will play semantics on my tags yes the line ‘i hope she’s right’ was said but it was from ASHTON#who does not believe they are at all and wasn’t saying they actively WERE right. orym just heard something to latch onto and ran with it#ultimately there is a reason orym only admitted that he was struggling when he had stepped away to talk to dorian#who has not been around and thusly has not changed once n orym's eyes#and it isn't that the hells never check in or care. they do. they have several times over#it is dishonest to say they haven't#the actual reason is that all of this is something He Is Aware Of. he doesn't mention it bc he KNOWS it's hypocritical and selfish#he says as much!#EXHALES. @ MY OWN BRAIN CAN WE THINK ABT MOG AGAIN. FYRA RAI EVEN. FOR ME.#posting this literally at 8 in the morning so I can get my thoughts out of my brain but also attempt to immediately make this post invisibl
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pinkcultgirl · 1 month
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ok but marcille is a groomer of falin. but go off i guess!!!!
I was originally just going to ignore this ask, but I honestly want to try to articulate why this way of thinking about farcille is a huge disservice to your enjoyment of dunmeshi-
I don't feel the need to really explain why two consenting adult women with an age gap doesn't equal grooming, but in an effort to empathize with your pov, let's dissect the assumption Marcille is "too old" for Falin.
Isn't that watering down one of the main characterizations of what makes Marcille, i dunno, MARCILLE? She's literally spent her whole life not knowing peers or friends that see her on an equal level. Of course Falin, the one girl she meets and falls for once her maturity has stablized, would be incredibly important to her.
To water down her backstory to "groomer" is such a perversion of the complexity Kui shows through Marcille, and dungeon meshi as a whole.
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