10/14/2022
Just so!
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JOKE-OGRAPHY:
1. In this Bible story, Jesus tells a parable about an unjust judge who gets harassed by a widow until he delivers a just ruling for her. She pesters him so devoutly that even he, unjust as he is, must relent, and so Jesus says that God, Who is perfectly just, will be even more forthcoming with those who pray fervently. The first panel is a direct quote from the translation of the Bible I was using. I love how short and to-the-point it is, like a social media bio.
2. In this cartoon, the apostle Thomas doubts that there's only one legal professional who doesn't fear God or respect any human being, so he asks, "Just one judge?" Thomas uses "just" to mean "only", but for comedy's sake, Jesus takes it by it's second meaning instead, which is "fair and righteous". This does not describe the judge He just mentioned, so He "corrects" Thomas's wording.
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Acts 24:15 (NKJV) -
I have hope in God, which they themselves also accept, that there will be a resurrection of the dead, both of the just and the unjust.
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i love posts about like books or tv or whatever where they're like "what if, at this point in the story, [better thing] instead of [problem the characters have to canonically solve]" like i just saw one that was like. what if instead of the system being broken (an issue many of the characters are not aware of/willfully ignore and which drives the action of both protagonists and antagonists for several installments) the system was better to begin with and had a place for everybody. this should've happened . girl what did you think the story was trying to say. critical thinkingggggggggggg
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I dunno how long ago it was I was talking about it or if I ever did, but I was just thinking about the way some of the animatronics have unique ways of recharging separate to a recharge station.
Like I've had DJ and Roxy using special lamps for recharging for a while with recharge stations being a big risk to the systems, and this has developed a bit since then. Mostly just the reasoning behind why Roxy has it, and it's being given to a few other animatronics in Plex History stuff too. Then there's Chica with a biofuel stomach that converts all food consumed into a power source, and can be used with a recharge station (thanks @/phroggslayer!!) which is neat, even if I keep forgetting about it. Those were the only unique ones I had (I had something for the Minis but I don't remember it) but I've just had a thought.
Now, I don't have the game so I can't just wander around and have a look, but there's water in Gator Golf, right? What if the water has a current and Monty can charge via a fucking water wheel in his chest? Like a stomach hatch where it pops open while he's floating on his stomach like the gator he is and this wheel drops down so the current can turn it and generate power? Seems really inefficient ngl so maybe multiple wheels or something? I dunno I think that would be kinda cool but also kinda goofy???
An alternative could be that the water is electrified and whenever he goes in it, his body absorbs the power through the water. I feel like that would give him the side effect of slowly power draining some animatronics if he hugs them or something though which honestly could still be pretty fun?
Like, he can lie under the restoring lights with Roxy and DJ and cuddle with them (I'm thinking platonically but it doesn't really matter) to charge himself through them. They get to take an extra long nap because he's draining their power while they're getting it from the lights and they like their naps so they like this arrangement actually.
And then you could have Monty hugging Chica to drain from her while she eats, biofuel speed at maximum and they're testing whether or not Chica can eat faster than he can charge. That could be pretty funny. Some fun emotional stuff to look at too with him being unable to touch his friends without draining their energy, but if it's slow enough then it's probably not too big a deal. Even less of a big deal if he can turn it on and off at will.
The waterwheel thing is just so funny to me though??? It's like those cartoons where the robot opens their chest and there's a little hamster running on a wheel in there to power them lmao
But if he can drain power from electronics then he can grab your phone and drain it dry within a few seconds out of spite and I think he deserves that actually. Of course I'd let him be able to use the recharge station as well, but why would he choose to use that over floating around the Gator Golf water features?
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When I approach Yelan (or anyone else I've written), I don't just look directly at her character, but I also look at her surroundings. Both the ones that she knows by some semblance of necessity, but also those that she chooses. Like here, I talked about the Chasm, and what being 'okay' with existing down there needs to mean for a character, because it's not normal. Someone's surroundings, room, or home say a lot bout who they are and what their mindset, or specifically, their perspective is of the world. And sometimes, I think it says more about people than even the characters realize.
This brings me to the topic of the city of Fontaine. Now, I personally think it's rather obvious that a lot of the nation takes from historical France, and so when looking at it, I think it really adds to remember its monarchy, the view that the 'common folk' had of it, and its inevitable demise to non-existence today in terms of importance as a result. So my first question is, who constructed or decided on its layout? Was it Furina, Neuvillette, Egeria? Whoever it was, there's a lot that can be said about their view of the world and their placement in it when you look at locations of buildings. Look at where Palais Mermonia, its governing body, is located within the city; it sits at a rather astounding elevation in comparison to, well, everything and everyone else in the city. This frequently represents the concept of 'distance' between groups in one way or another, and seeing the consistency in other nations, this is something that is rather intriguing to me, especially keeping Fontaine's characters in mind (and considering this is the nation of 'justice'). Mondstadt has everything almost entirely uniform, with arguably the church on the highest level (but it isn't greatly elevated in comparison to all else), but it's joined with the plaza and statue which are a common gathering site for all people in the city. Liyue had the gods and adepti visibly living among the humans back in the days of the Guili Assembly for reasons of 'integration' (my apologies to numerous from our dear Guizhong!) The fact that numerous adepti now live far outside of the harbor is a different matter entirely, and the one who seems to function within a semblance of separation of sorts is Ningguang with the Jade Chamber (but I'm not one to speak on behalf of her character as I don't bear the knowledge). Inazuma also has the Tenshukaku at a higher elevation in comparison to the rest of Inazuma City. Sumeru is interesting, but ultimately Nahida was kept at the very peak of the city, far out of reach of humanity— but that's exactly the common denominator that has my interest, the distance between the 'governing body' and humanity for one reason or another.
But Fontaine really takes separation to a different level in my opinion (and again, think of this when you think of the person having designed the whole city), not only because of the above which I'll elaborate more on in a moment, but also its separation from the outside world. Now, this is interesting to think about if you keep in mind that it was perhaps done in eventual protection of the city's inhabitants in terms of the prophecy (which means that this would have been constructed anywhere during or after Egeria's reign), but then why is only Palais Mermonia far above the water's reach? If the walls surrounding the city were ever breached during said prophecy, all its inhabitants are pretty much immediately caught in the flood and would drown, which tells me nothing positive of the city's 'architect' or whoever signed off on the designs. But if not done for the prophecy, then why? Stand in the middle of the Court of Fontaine and really look around you, the only sights you really have of the outside world are the sky, and it's obstructed by a fair bit of the waterways and gardens that hang overhead, which you can only properly enjoy when you take the ages long elevator to the upper level where the palace is located (which, credit due, seems freely accessible to everyone in present-time). But if you don't venture up, how much of the outside world do you get to see? It feels very secluded, very much under lock and key. On some level (and this is one of the many reasons why I think that the Meropide is so excessively important in Fontaine and it's likely why we spent so much time there; it's all to show the ever, ever important contrast and nuance between this 'autonomous nation within Fontaine' and, well, 'Fontaine'), it almost feels like a prison, regardless of how pretty it may look or come across (and despite not 'lacking rights'). And considering how people in the Meropide speak of not always wanting to return back to the 'overworld' following their sentence, I think that there's definitely quite a bit of truth in that. But again, stand there and look around for yourself.
Now to return to the original topic, but keeping the last one in mind as well, look at one other thing that I'm unsure how many have really kept an eye on: the massive effect Palais Mermonia's level has on the rest of the area (inside and outside of its walls). Have you ever walked through the city of Fontaine at any given time of day or night, north to south, east to west, clockwise or counter-clockwise circling through it; have you ever seen how it overshadows an immense part of the streets below it either entirely on its own (which to me signifies a very domineering presence), or together with those outer walls that surround the city? I know how I've spoken thoroughly with people before about how much I enjoy Fontaine and how dark it is in its storytelling, but despite how gorgeous this region with its water- and landscapes are; its city bears quite a heavy weight to me. I don't know who designed it, or ordered it to be constructed in this way, but nothing about the city itself truly, rationally, shows a healthy perspective versus its citizens.
Me: /continues on to ramble in tags because I'm me and I'm a nuisance with always more to say than I know how to coherently put into these posts.
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Thinking about fierce deity again and while I very much understand where the thought of him being some sort of war god comes from- I just can't get myself to believe in it. I very much do believe that the fierce deity is capable of vast amounts of destruction and carnage, but I do not believe that he's the type to enact pointless death. He's capable of so much hurt, but instead, he commits himself to protection, justice, and the very people themselves. He's just not a violent guy, but he CAN be violent, am I making any sort of sense
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im the only one who thinks about these panels as much as i do. guy whose eyes shine like this as he says he's going to steal literally everything. all of the art ever. i say that daisuke feels half bad about the stealing bc stealing is normally morally wrong and it's still true while dark is so clearly unrepentant if not outright feeling his most alive in this kind of moment!!! but it's kind of crazy how you can also still read the instant as dark covering up the fact he's going after something that's considered a 'worthless/trash' art in front of hiwatari because it might link him to manisumea. the only thing dark gives is a pause at satoshi's appearance before he says all of this. no vulnerability, no pleading, no explanation or even rage in front of the descendant of the creator and metaphorical god(s) that he betrayed out of a furious, first-betrayed sense of injustice and tyranny. just dark and his own lucifer pride!!! he's going to take everything because he CAN. he's going to take eeeeverything and he's going to enjoy it, even if an enormous part of why he even steals is meant to be both a reluctant gathering of strength and 'soldiers' for 'war' against 'the creator,' and/or atonement for his own birth causing an art-pocalypse; the destruction of so many other arts because he/the kokuyoku was decided 'too dangerous.' it's literally just two panels but it's like the epitome of everything To Me
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