YOU THOUGHT THAT YOU COULD OUTSMART THE VERY THING THAT RUNS THE BLOOD OF YOUR KIND?
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I wish the emperor in bg3 was as cool ( and hunky ) as you make them out to be, how you portray the gang and greygold is all so sweet 😭😭😭 but after finding out what he did to Duke stelmane... I'll just pretend your version is canon instead. I love your art!
Right, so originally I wasn't gonna abroach that topic with a 13½ ft pole, because sensitive subject, but gonna have to roll up my sleeves and acknowledge it was very much indeed a topic that Greygold had to consider and formulate their own conclusions on.
Sure even though Greygold didn't find out the be-hella-mean way, there were concerned friends with mindful observations that had Greygold confronting the possibility that the Emperor and Stelmane's secret underground business practices might've had some uh...Problems!
The conversation went a lil everywhere BUT in short-
Greygold's philosophy is to hope for the best, but always prepare for the worst.
Case in point: Greyg's team. Maybe not everyone did shitty things in their past, but they certainly had ample opportunity to do shitty things on this journey that Greygold had to veer them away from.
As Greygold sees it, if their teammates can change for the better, hopefully the Emperor can and will too. Everybody is capable of being awful, but also being awesome kind, so gotta give the squid a chance.
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I feel like if Dipper were ever reincarnated as a demon, he wouldn't fit in super well with the others. Yes, he's been raised to vie for power and step on everyone in his way using whatever means is necessary - it's the same toxic bizz as when he was a human, appealing to gender norms. He's tougher, scarier, more powerful (than ordinary humans, that is), but when it comes to asserting control - being Evil - he doesn't have it in him. Given enough time, I think he'd grow pretty vocal about leaving living things alone. NOT torturing organisms for the hell of it, or stealing people's souls, or conquering planets. Sure, he's a demon. That's no excuse to be a MONSTER.
It's a VERY unpopular opinion amongst neighboring demons, and rumor spreads fast about the Goody Two-Shoed Activist imp raining on everyone's blood-splattered parade, so much so that it makes it to Bill, who's immediately intrigued. Call it intuition, but only one soul's capable of overriding goddamn demon nature for some preachy bullshit about "Doing Good." Lucky for him, demons occupy the same plane of existence, so all it really takes to verify the guy is a snap of his fingers, and POOF! He's floating right next to him. Sure enough, Dipper's fashioned himself a new and improved demonic form, and it is lovely!
No one likes Dipper's kumbaya "Can't We All Just Get Along" ideology, but Bill's almost instantly smitten with the guy, whoever he is, so he's gotta be at least somewhat powerful. Demons take notice when the all-powerful Bill Cipher starts lending his time (and magic?) to some low-leveler like Dipper. Is he being blackmailed? Are they working together? No. Not possible. Bill doesn't "work" with anyone, save for whatever human catches his eye every few decades. Doesn't look to be doing him any benefit, either. The opposite, even. Lending power to a saint like Dipper only makes it harder to cause chaos, after all. Why would he actively go against his OWN best interest to cater some imp's? It's almost like he's. He's.
A henchmen.
(Bill's also 30% more affectionate the first month they reunite, because he still can't believe that his adorable little human husband came back as the same SPECIES as him! He'd never complain over having a sweet human to squeeze, but one with teeth and claws and cute pointy ears doesn't hurt).
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two meals
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Which show has been ruined the most by romance?
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not to sound like a broken record, but every once in a while i just remember that beyond evil really said that a strained relationship between a parent and child does not necessarily have to be straightforward, in that han joo won clearly despises his father (you sent me away, you’re the reason my mom’s dead, you were never interested in who i was until it was relevant to your career) and yet joo won still has a room in his father’s house (even though you locked me out without a warning) and they still eat dinner (even though you shoo me away when i tried to approach you) and joo won even still gives his father a dozen chances to prove that he’s not an awful person (just tell me the truth, just tell me the truth, and i promise i’ll help you) and even in the finale, you see a bit of that anger and disappointment and pain in joo won’s face and hm something about beyond evil saying that the relationships between parents and child are complex in that no matter how many times a parent kicks at their child, there will always be a tiny, tiny part of the child that still wonders if there’s even a sliver of a chance of a functional relationship--
and you see a bit of that in jeong je and his relationship with his mom too, in that his mother almost obsessively looks after him. she hovers over him, keeping track of his medication and sending him away to hospitals (is it out of love or self-preservation or shame? or maybe it’s all of those things at the same time), and she decides that she’ll protect her son first and foremost, but then the second it’s convenient for her, she tells him that she’ll throw him away. (she doesn’t want to be called “mom” anymore. maybe it’s true that she was only a mom, but isn’t that what every kid wants from a parent. for their parent to be their parent first.) and yet, despite that monstrous moment, do hae won still has a whole breakdown when she realizes that jeong je might truly kill himself, and there’s something pathetic about that (if you truly cared about your child, you would have known the kind of hell you were putting them through) and yet a little tragic too (how come it had to take you that long to realize your child was in hell).
and you see some strains of that with dong sik and jae yi, in that both of them had such beautiful relationships with their parents, and yet there’s something in both their relationships that broke that down. for jae yi, she loves her mother but there’s a small part of her that resents her for suddenly going missing--as soon as you come back home, i’m going to walk out of this shop and never come back. and yet she loves her mother, even with all that resentment and hurt and confusion within her, even before she learns of the truth. (she’s the one who runs over to the morgue every time a new body’s found. she’s the one pestering morticians and prosecutors about where her mother might be. she does this every year, even though she’s angry, deep down she’s angry.)
and then with dong sik, who has so many fond memories of his parents--you see that grief and sadness on his face when he talks about how just overnight, his father was no longer his best friend. dong sik left so quickly after the accusations against him because how could he stay, when his own parents either can’t look at him in the eye or look right through him? and there’s some bitterness there too--and even more bitterness when dong sik visits his mom, scoffing at the idea of being a good son (because he’s not a good son, he’s the son who ran away from home the second he thought he no longer had a home, he cleans his mom’s hands a little too roughly because he doesn’t do that often anymore). of course, dong sik loves his parents, of course, dong sik loves his mom, because he still talks to her (even if she can’t understand him), but there’s that grief underlying it all too. his mom isn’t herself anymore, and dong sik might not get that back, and maybe he’s bitter more at himself than he is at his parents, but at least there’s something there for him to hold onto, at least at the end of it all. and maybe that’s kind of all that someone can do when they haven’t always had the easiest relationship with a parent--the good parts are good, but the bad parts are bad, and maybe that’s as much as anyone gets.
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thinking about how akio sees his younger self in utena and wondering if there's any fondness there. doesn't change the horror of what he does to her obviously but i do wonder
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Sort of a distant tangent off my post about Ashton, but I'm growing more and more suspicious of the fandom claim that there's no time for small RP moments in Campaign 3. I do think that it's been challenging to get deeper party bonding or serious conversations that aren't about the big philosophical questions they're facing, since those do take much more time; but then I think about Calamity, or Candela Obscura. I can genuinely give you at least a couple paragraphs about pretty much every relationship in the two Circles, or in the Ring of Brass. I can also point to no shortage of small moments between characters in the Mighty Nein Aeor or Vox Machina Vecna endgame episodes, which were all extremely plot-heavy and fast-paced, and D20 consistently nails character relationships in a fraction of the time.
I think it really does come down to, as Brennan Lee Mulligan always says, the character creation phase. Laying down a solid groundwork in which everyone has a detailed, rich backstory and sense of personality and relationship history (in the case of characters who knew each other prior to the start of the series) is absolutely crucial, and even in the case of characters who don't know each other before going in, a good amount of time spent in character creation ensures that it's easier for them to develop those interpersonal relationships on the fly. I know in actual play there's some degree of finding the character as you play, but there are games for which there is a very short runway, and I don't think it ever hurts to do more extensive character prep than the bare minimum. And if there are gaps, I think it also helps to go back and fill those in mid-way, away from the table - Travis clarifying Chetney's backstory being a great example that allowed the history of Chetney and Deanna to feel realized and full, despite only a few episodes.
I'll also be blunt: most of the time when people complain that there aren't moments because the plot keeps moving...they're mad about shipping. Which has always rung hollow to me. It was a common complaint in C2, that no time was taken for character relationships, despite them taking an entire half of an episode for the Beauyasha date and despite no shortage of moments for all three of the other couples (and plenty of platonic moments between friends). The issue was never a lack of time; it was that the characters they wanted to talk to each other didn't actually have the relationship in canon that the fans had dreamed up, and so, when the chips were down, they went to other people.
It takes two seconds to say something like "I hold their hand", even in the middle of plot-heavy adventuring. If someone doesn't say it, it's rarely the GM rushing them; it's the player either choosing not to do so, or not remembering to do so, and either of those is quite revealing regarding how the player feels about that relationship and where it stands in their priorities.
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These playlists are gonna make me cry, I can't, they're so bad...
Don't you dare try to gaslight me, Victor would NOT listen to Will Wood, leave him out out this...
Like, for actual characterization, this one had it, a lot of these songs are actually on our own Frankenstein playlist...
Heavy on HAD...
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i’ve been thinking a lot about what is so unique and appealing about 80s robin jay’s moral standing that got completely lost in plot later on. and i think a huge part of it is that in a genre so focused on crime-fighting, his motivations and approach don’t focus on the category of crime at all. in fact, he doesn’t seem to believe in any moral dogma; and it’s not motivated by nihilism, but rather his open-heartedness and relational ethical outlook.
we first meet (post-crisis) jay when he is stealing. when confronted about his actions by bruce he’s confident that he didn’t do anything wrong – he’s not apologetic, he doesn’t seem to think that he has morally failed on any account. later on, when confronted by batman again, jay says that he’s no “crook.” at this point, the reader might assume that jay has no concept of wrong-doing, or that stealing is just not one of the deeds that he considers wrong-doing. yet, later on we see jay so intent on stopping ma gunn and her students, refusing to be implicit in their actions. there are, of course, lots of reasons for which we can assume he was against stealing in this specific instance (an authority figure being involved, the target, the motivations, the school itself being an abusive environment etc.), but what we gather is that jay has an extremely strong sense of justice and is committed to moral duty. that's all typical for characters in superhero comics, isn't it? however, what remains distinctive is that this moral duty is not dictated by any dogma – he trusts his moral instincts. this attitude – his distrust toward power structures, confidence in his moral compass, and situational approach, is something that is maintained throughout his robin run. it is also evident in how he evaluates other people – we never see him condemning his parents, for example, and that includes willis, who was a petty criminal. i think from there arises the potential for a rift between bruce and jay that could be, have jay lived, far more utilised in batman comics than it was within his short robin run.
after all, while bruce’s approach is often called a ‘philosophy of love and care,’ he doesn’t ascribe to the ethics of care [eoc] (as defined in modern scholarship btw) in the same way that jay does. ethics of care ‘deny that morality consists in obedience to a universal law’ and focus on the ideals of caring for other people and non-institutionalized justice. bruce, while obviously caring, is still bound by his belief in the legal system and deontological norms. he is benevolent, but he is also ultimately morally committed to the idea of a legal system and thus frames criminals as failing to meet these moral (legal-adjacent) standards (even when he recognizes it is a result of their circumstances). in other words, he might think that a criminal is a good person despite leading a life of crime. meanwhile, for jay there is no despite; jay doesn't think that engaging in crime says anything about a person's moral personality at all. morality, for him, is more of an emotional practice, grounded in empathy and the question of what he can do for people ‘here and now.’ he doesn’t ascribe to maxims nor utilitarian calculations. for jay, in morality, there’s no place for impartiality that bruce believes in; moral decisions are embedded within a net of interpersonal relationships and social structures that cannot be generalised like the law or even a “moral code” does it. it’s all about responsiveness.
to sum up, jay's moral compass is relative and passionate in a way that doesn't fit batman's philosophy. this is mostly because bruce wants to avoid the sort of arbitrariness that seems to guide eoc. also, both for vigilantism, and jay, eoc poses a challenge in the sense that it doesn't create a certain 'intellectualised' distance from both the victims and the perpetrators; there's no proximity in the judgment; it's emotional.
all of this is of course hardly relevant post-2004. there might be minimal space for accommodating some of it within the canon progression (for example, the fact that eoc typically emphasises the responsibility that comes with pre-existing familial relationships and allows for prioritizing them, as well as the flexibility regarding moral deliberations), but the utilitarian framework and the question of stopping the crime vs controlling the underworld is not something that can be easily reconciled with jay’s previous lack of interest in labeling crime.
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